(Schlesinger, 1937) An original production drawing of Daffy Duck from his debut appearance in the Looney Tunes short, “Porky’s Duck Hunt.” With only a minute of screen time, the screwball fowl wasted no time in making his presence known. The cartoon’s success led to the character being officially dubbed Daffy the following year with a role in five more cartoons. Daffy’s popularity grew, eclipsing Porky, and becoming one of the most popular cartoon characters in the world to this day. Accomplished in graphite and colored pencil and measuring 9.5” x 12” with a character image size of 2” x 1.75”, the drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with edge wear and creasing, a horizontal fold 1” from the top edge that runs the width of the paper, a paperclip oxidization stain at the bottom center, and light discoloration from age.

(Schlesinger, 1937) An original production drawing of Daffy Duck from his debut appearance in the Looney Turns short “Porky’s Duck Hunt.” Even in this early storyboard drawing, Daffy’s zany hyperactivity is unmistakable. The character’s popularity grew, eclipsing Porky to become one of the most popular cartoon characters in the world to this day. Accomplished in graphite with a character image size of 2.25” x 3.75” on 9.5” x 12” animation paper, the drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with edge wear and creasing, a horizontal fold 1” from the top edge that runs the width of the paper, and light discoloration from age.

(Schlesinger, 1937) A set of photo print model sheets from the Looney Tunes short “Porky’s Duck Hunt,” which marked the debut of Daffy Duck. The set includes two prints of a size comparison sheet of the characters labeled “The Crazy Darnfool Duck,” and one sheet of Porky in his hunting outfit. Each measuring 8” x 10.25”, the photo print model sheets are in very good condition, with light wear from production use and handling, smudges to one duck sheet, and pinholes at the corners.

(Schlesinger, 1937) A three-page picture report for the Looney Tunes short “Porky’s Duck Hunt,” directed by Tex Avery. Animation units at Schlesinger screened each other’s completed cartoons for critique and comments, which were compiled into picture reports. This short marks the first appearance of Daffy Duck and the report offers fascinating insight into how the new character was received. Comments noted that this was the best and funniest of the Looney Tunes up to that date and that Tex was “developing his own brand of humor.” Measuring 8.5” x 11”, the typed report is in very good condition with light folds and creases and several notes relating to Bob Clampett underlined in graphite pencil.

(Saalfield Publishing, 1930s) A linen book titled Porky Pig’s Duck Hunt. In verse over 12 illustrated pages, the book tells the story of the 1937 cartoon short “Porky’s Duck Hunt” which is considered to be Daffy Duck’s first appearance. Measuring 9.75” x 12.5”, the book is in very good condition faint pencil marks on one interior page, light color shift from age, scuffs, spine wear, and a partial sneaker print on the front along 9” of the spine.

(Warner Bros., 1938) A collection of three storyboard panels from the Looney Tunes short “Porky & Daffy,” directed by Bob Clampett, featuring Daffy, The Champ, and the Pelican Announcer. Measuring 6.5” x 8” the panels accomplished in graphite and color pencils display in good production-used condition with creases, thumbtack holes with some corner tears, light discoloration from age, and a torn right border to one.

(Warner Bros., 1938) A collection of five storyboard panels from the Looney Tunes short “Porky & Daffy,” directed by Bob Clampett. Measuring 6” x 8” to 6.5” x 8” the panels accomplished in graphite and colored pencils display in very good production-used condition with creases, pinholes at corners, and light discoloration from age.

(Schlesinger, 1938) A pair of storyboard panels from the Looney Tunes short “Porky & Daffy,” directed by Bob Clampett. Featured on the back of one of the pages is a complete storyboard panel from the Looney Tunes short "Injun Trouble." It was common practice for Warner Bros. to save costs by cutting old production drawings into quarters, using the reverse side as storyboard paper. Accomplished in graphite and measuring 6.25” x 8”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1938) An unused layout drawing from the Looney Tunes cartoon “The Daffy Doc,” directed by Bob Clampett. The hospital in the film displays the same name and motto on a more modern building. With an image size of 8.5” x 10.75” on 9.5” x 12” animation paper, the drawing accomplished in colored pencils is in fair condition, with a 2.5” tear across the end of the word “hospital.”

(Schlesinger, 1938) A collection of 11 storyboard panels from the Bob Clampett-directed Looney Tunes short “The Daffy Doc.” Accomplished in graphite, the panels feature Porky, Daffy, and production drawings from the Looney Tunes shorts, “Porky’s Naughty Nephew” and “Porky in Wackyland” on the reverse side of all but one panel. This was not uncommon, as Warner Bros. would save money by cutting old production drawings into quarters for the backs to be used as storyboard paper. Ranging in size from 6.5” x 7.5” to 6.5” x 8.25”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1938) A collection of nine storyboard panels of Porky and Daffy from the Bob Clampett-directed Looney Tunes short “The Daffy Doc.” Production drawings from earlier Looney Tunes shorts, including “Porky’s Naughty Nephew,” are found on the reverse of the pages, as Warner Bros. would cut old production drawings into quarters to save money and use the backs as storyboard paper. Ranging in size from 6.25” x 8” to 7.25” x 10.5”, the graphite panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1938) An original production cel of the chef from the Merrie Melodies cartoon “Daffy Duck in Hollywood,” directed by Tex Avery. The cel was paired with a custom background with the steam effect added, most likely for sale at the time. With the original cel trimmed to the character image size of 7.75” x 7” and applied to a 9” x 12” cel and background, the piece displays in very good condition with slight waviness from age, and some very small spots of paint lifting.

(Schlesinger, 1939) A collection of nine storyboard panels featuring Porky, Daffy, and Mrs. Daffy from the Bob Clampett-directed Looney Tunes short “Wise Quacks.” Accomplished in graphite and ranging in size from 6” x 9.5” to 6.5” x 9.5”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Warner Bros., 1930s-40s) An original concept drawing for an unproduced gag featuring Porky Pig in a pith helmet and Daffy Duck dressed Tarzan-style as “Daffy, the Duck Man.” Measuring 8.25” x 12” on 9.5” x 12” animation paper, the graphite drawing is in very good condition with light creases.

(Warner Bros., 1940s) A model sheet for Daffy Duck as he appeared from 1944-1950. Model sheets such as this were distributed to animators to ensure consistency of character design. Measuring 8” x 10”, the model sheet is in very good to fine condition, with a tiny smudge on the copyright line.

(Schlesinger, 1943) An original production drawing of Daffy Duck from “The Wise Quacking Duck,” directed by Bob Clampett. With an image size of 5” x 4” on 9.5” x 12” animation paper, the drawing is in fine condition.

(Schlesinger, 1943) An original production drawing of Daffy Duck from “The Wise Quacking Duck,” directed by Bob Clampett. A note on the back identifies the artist as Art Babbitt. With an image size of 5” x 2.75” on 9.5” x 12” animation paper, the drawing is in very good condition, with discoloration from age, and handling wear mainly to the edges.

(Schlesinger, 1943) An original production cel and background from the Looney Tunes cartoon “The Wise Quacking Duck,” directed by Bob Clampett. The cel captures a demure Daffy as he performs a strip tease, with the background oven and platter where he ends his dance. With a character image size of 2” x 5”, the 10” x 12.25” cel is in very good condition with very slight paint lifting in Daffy’s flesh-tone neck and shoulder. The original background accomplished in gouache has an image size of 8.75” x 11” on 10” x 14.5” art paper and is in very good production-used condition with expected wear in the borders.

(Schlesinger, 1943) A pair of production cels of Daffy Duck and Mr. Meek with an original background from the Looney Tunes cartoon “The Wise Quacking Duck,” directed by Bob Clampett. With character image sizes of 2.5” x 5.5” and 8” x 8”, the 10” x 12.25” cels display in fair condition with large spots of paint loss to both characters. The original background accomplished in gouache has an image size of 8.75” x 11.5” on 10” x 14.5” art paper and is in very good production-used condition, and stamped “Courtesy of Bob Clampett Collection.”

(Schlesinger, 1943) An original production cel from the Looney Tunes cartoon “The Wise Quacking Duck,” directed by Bob Clampett. With a character image size of 6” x 6.25”, the 10” x 12.25” cel is in fair condition with large areas of paint loss throughout.

(Schlesinger, 1943) An original hand-painted production background from “The Wise Quacking Duck.” Accomplished with gouache on 10” x 14.5” heavy paper, the art is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with stains, scratches, and tape residue from production use.

(Warner Bros., 1946) An original model sheet rough drawing from the Looney Tunes short “Book Revue” of Daffy Duck, Little Red Riding Hood, and The Big Bad Wolf. Drawn by Tom McKimson and taped together from separate elements, this sheet was later traced in ink to create copies for the animators working on the production. Accomplished in graphite and colored pencil the model sheet measuring 10.5” x 12” is in good production-used condition with intentionally taped and torn elements, edge wear and creases, and light discoloration from age.

(Warner Bros., 1946) An original model sheet clean-up drawing from the Looney Tunes short “Book Revue” of Daffy Duck, Little Red Riding Hood, and The Big Bad Wolf. Traced and inked from Tom McKimson’s original drawing, this sheet was used to make photostat copies and distributed to animators working on the production. Measuring 11” x 15.5”, the model sheet is in good production-used condition with edge wear and creases from production use, and light discoloration from age.

(Warner Bros., 1946) A photo from a storyboard session for the Looney Tunes short “The Great Piggy Bank Robbery," directed by Bob Clampett. From left to right, Clampett and Tom McKimson are standing, while Mike Sasanoff and Rod Scribner are seated. Measuring 8” x 10” the glossy photo is in fine condition.

(Clampett, 1940s) A multi-signed novelty postcard of Bob Clampett and his animation unit from Leon Schlesinger Productions. Pictured are Clampett standing on the far right, with Chuck Jones beside him, Bobo Cannon seated in the center, Izzy Ellis second from the left, and others. Signatures in pencil on the reverse include Chuck Jones, Izzy Ellis, Dick Jones, Bobo Cannon, Ernest Gee, Willard Oberlin, and others. Measuring 5.5” x 3.5”, the photo is in very good condition with light edgewear and toning from age.

(Clampett, 1940s) A photo postcard of Bob Clampett and his animation unit from Leon Schlesinger Productions taken on Theater Day at the studio. Most of the crew is unidentified, but Clampett is in the center with Chuck Jones behind him next to Bob McKimson. Signatures in pencil on the reverse include Chuck Jones, Izzy Ellis, Dick Jones, Bobo Cannon, Ernest Gee, Willard Oberlin, and others. Measuring 5.5” x 3.5”, the photo is in very good condition with light edgewear and toning from age.

(Schlesinger/Warner Bros., 1940s-50s) A collection of four sheets of Warner Brothers Animation letterhead. Included are two sheets from the Hollywood location of the 1940s, one sheet from the Burbank lot location after 1955, and a unique sheet with a military insignia of Bugs Bunny riding an artillery shell labeled “12th Marines.” Each measuring 8.5” x 11”, the letterhead sheets are overall in very good condition, with light wear from age, very slight edge wear, and a faint crease and small chip to the right edge of the Burbank sheet.

(Schlesinger, 1940) A Bob Clampett employee card from Leon Schlesinger Productions, dated April 17, 1940. Clampett, labeled as a Dep't "Supervisor," inscribed the card with graphite notes, including employee names, extensions, and addresses. Measuring 2.75” x 3.75”, the card is in very good condition with light discoloration from age.

(Schlesinger, 1942) A Bob Clampett employee card for Leon Schlesinger Productions, dated March 13, 1942. This was a significant year for Clampett, as he directed classic films such as “A Tale of Two Kitties,” “Bugs Bunny Gets the Boid,” and “Horton Hatches the Egg.” The latter was the very first animated adaptation of a Dr. Seuss story. Measuring 2.75” x 3.75”, the card is in good condition with creases, wear, discoloration from age, and stains, particularly to the reverse.

(Clampett, 1940s) A self-caricature of Bob Clampett with other members of the Leon Schlesinger Productions crew including Schlesinger, Bob McKimson, Michael Sasanoff, Henry Binder, and others. Clampett completed this illustration in under a minute and justified its crude nature by signing it as if he were 3½ years old. This playful line became a popular recurring joke for Clampett, which he often used in his cartoons. Accomplished in colored pencil and graphite and measuring 9.5” x 12”, the drawing is in very good condition with light creasing, a paperclip oxidation stain at the top center, and light discoloration from age.

(Clampett, 1930s-40s) Three holiday cards from Bob Clampett. Included are a rhyming poem “from Bugs Bunny and Bob Clampett,” a card featuring original art of Daffy Duck and Porky Pig accomplished in marker, and a Season’s Greetings Bugs Bunny card, inviting the reader to a masquerade at The Pirates Den. Ranging in size from 4.75” x 6.5” to 4.75” x 7”, the cards are in good to very good condition with creases, wear, and spots of discoloration from age.

(Schlesinger, 1943) A slightly suggestive Christmas Card from the Ink and Paint Department to Bob Clampett in 1943. The card features over 30 signatures, one girl’s self-portrait, and a painting of lips labeled “negotiable at any time.” On animation paper measuring 9.5” x 12” and accomplished in mixed media, the card is in very good condition, with light wear from age.

(Schlesinger, 1940s) A hand-painted Christmas card to Bob Clampett of him riding a motorcycle, signed by 17 of his colleagues at Leon Schlesinger Productions. Signatures include Bill Melendez, who later produced Peanuts animated specials for television, Virgil Ross, and brothers Tom and Bob McKimson. Measuring 9” x 11.25”, the card accomplished in ink and watercolor is in very good condition, with light handling wear, age wear, and a small stain by the top left corner.

(Schlesinger, 1940s) A group photo taken at a 1940s Schlesinger Productions Christmas party. Bugs Bunny can just be made out as the angel on top of the tree, and a number of attendees are dressed in their armed forces uniforms. A note on the back identifies Santa Claus as Michael Maltese, a perennial animation writer who started at the Studio in 1941 and in his career was credited for story on iconic cartoons including “Duck! Rabbit! Duck!”, “One Froggy Evening”, and “What’s Opera, Doc?” Measuring 8” x 10”, the photo print is in fair condition with edge wear including a spot of paper loss and a small tear, and a 3” crease at the lower right corner.

(Schlesinger, 1942-43) A thank you card from the Ink and Paint department to Bob Clampett. In verse, they thank him for a card and candy, and give hope that “Coal Black and de Sebben Dwarfs,” not yet released, would have great and lasting success. The short is the most notorious film on the “Censored Eleven” list of cartoons removed from general release by Warner Brothers. The card is signed in ink or pencil by 56 staff members, many exhibiting exquisite penmanship. Measuring 9.5” x 24”, the card is in very good condition with light handling wear, a crease to the bottom left corner, and light wear from age.

(Schlesinger, 1943) A hand-drawn Christmas card to Bob Clampett, signed by 15 of his colleagues at Leon Schlesinger Productions. Signatures include Bill Melendez, who later produced Peanuts animated specials for television, and brothers Tom and Bob McKimson. Measuring 8.25” x 11”, the card accomplished in ink and crayon is in very good condition, with light handling wear, age wear, and a few small spots.

(Clampett, 1940s) A title card cel and background for “The Mooch of Time” parodying “The March of Time,” a popular series of newsreels shown in theaters, often alongside the Warner Bros. cartoons. Measuring 9.75” x 12.25”, the cel and background are in very good condition with light scuff to the cel and light warping to the background.

(Schlesinger, 1940s) Original artwork for proposed new Juicy Fruit, Spearmint, and Doublemint characters for Wrigley’s gum advertisements. Accomplished in mixed media, the art has a character image size of 7.25” x 11” on 11” x 15” art paper and is in very good condition with light spotting, handling wear, and a 2.5” crease to the lower right corner.

(Schlesinger, 1940s) Original artwork for proposed new characters for Wrigley’s gum advertisements. Accomplished in mixed media, the art has a character image size of 9.5” x 8” on 13.5” x 10.75” art paper and is in very good condition with light spotting.

(Clampett, 1940) A “One Million B.C.” ad parody and art class receipt. Bob Clampett made humorous touch-ups to the newspaper ad, adding Porky Pig and his name as the director. The art class receipt lists Clampett and his fellow Schlesinger animators attending, including Rod Scribner and Tom and Bob McKimson. Measuring 3.75” x 5”, the ad is in fine condition, while the 5.7” x 5.75” receipt is in good condition with light discoloration from age, creases, pinholes, tears, and a fold at the bottom left corner.

(Leon Schlesinger Productions, 1939) An original drawing of the final version of the Looney Tunes logo. The blocky, skewed letters of the logo originally seen in the first Looney Tunes short, “Sinkin’ in the Bathtub,” would undergo a series of subtle changes throughout the 1930s with a near final design debuting in 1938’s “Porky in Wackland.” It was not until “Porky’s Hotel” in 1939 that a new version which featured partial contour lines inside the letters would come to serve as the final design which is still in use to this day. Accomplished in ink and measuring 9.5” x 12” with an image size of 7.75” x 1.75” the drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection” on the reverse, with light edge wear from production use, light discoloration from age.

(Schlesinger, 1937) An original photostat model sheet of Elmer Fudd for his debut appearance in “Little Red Walking Hood,” directed by Tex Avery. The sheet includes faint hand-notations in pencil, including “Elmer” written in the lower left corner. Measuring 8.5” x 11” and mounted to 9.5” x 12.5” orange art paper, the photostat is in good production-used condition with typical handling wear, and discoloration overall from age.

(Schlesinger, 1939-41) A collection of four dialogue and recording pages for Looney Tunes and Merrie Melodies cartoons. Included are two typed pages for “Kristopher Kolumbus Jr.”, one for the Merrie Melodies “Farm Frolics” (here titled “Farm Fun”), and a handwritten page for “Patient Porky” with the lyrics for the cat’s song. All but one of the pages have extensive handwritten notes and adjustments to the dialogue. Measuring up to 9.5” x 12”, the pages are in very good condition with handling wear and smudges typical of production use, some discoloration from age, and edge wear.

(1930s-1940s) A layout drawing from an unknown production based on the nursery rhyme "There Was an Old Woman Who Lived in a Shoe.” With an image size of 7.75” x 10.5” on 9.75” x 12” animation paper, the graphite and colored pencil drawing is in good condition with edge wear, discoloration from age, creases, and tears up to 1.5” long.

(Schlesinger, 1940) A collection of six photo print model sheets from “The Bear’s Tale,” directed by Tex Avery. Sheets like these were distributed to animators at the Studio to ensure consistency of character design. Each measuring 8” x 10”, the model sheets are in good condition with light wear from handling, and some toning and spots of discoloration from age.

(Warner Bros., 1940s) A collection of 12 pages of original model drawings for a chicken, rooster, and horse characters from an unknown cartoon production. Measuring 9.5” x 12”, the graphite and colored pencil drawings are in good to very good condition with discoloration from age, creases, and edge wear.

(Schlesinger, 1940) A four-page script for the animated short “Cross Country Detours,” a comedic take on nature documentaries written by Rich Hogan. Ranging in size from 8.5” x 8.5” to 8.5” x 11”, the script pages are in good condition with creases, edge wear and tears, inscriptions from production use, and discoloration from age.

(Schlesinger, 1943) An original layout drawing from the World War II propaganda film “Tokio Jokio.” This is the interior of a submarine, where the workers in the distance are shown in the following shot to not be working on machinery, but playing arcade games. After the war, the film was banned due to its racist depictions of the Japanese, and would mark animator Norman McCabe’s final cartoon at Warner Bros. With an image size of 8” x 10.5” on 9.5” x 12” drawing paper, the graphite and colored pencil art is in good condition with creases, edge wear, corner folds, and discoloration from age.

(Schlesinger, 1941) An original hand-painted background from the Merrie Melodies short “The Cagey Canary.” The short was originally planned by Tex Avery but finished by Bob Clampett after Avery left the Studio. With an image size of 9” x 11.5” on 10” x 13” heavy paper, the background is in good condition with pinholes throughout from production use, scratches, creases, and edge tears up to 0.75” long.

(Schlesinger, 1941) An original hand-painted production background of a forest from the Merrie Melodies short “Farm Frolics.” Accomplished in gouache on an illustration board measuring 10.25” x 13.25”, the art is in very good condition with spots of paint loss, pinholes from production use, and light wear.

(Schlesinger, 1941) An original hand-painted production background of a forest and lake from the bird scene in “Farm Frolics.” Accomplished in gouache and measuring 10” x 12, the background is in good condition with light stains, scratches, pinholes from production use, discoloration from age, cracks, and a 1” x 1” section missing from the bottom center.

(Schlesinger, 1941) An original hand-painted production cel of Leopold Stokowski from “Goofy Groceries.” The caricature of the famed “Fantasia” composer comes to life from a dish mop in this Merrie Melodies film directed by Bob Clampett. With an image size of 4” x 7” on a 10” x 12.5” cel, the piece is in good condition with spots of paint loss, scratches, and light wear.

(Schlesinger, 1941) An original hand-painted production log cabin door background from “Goofy Groceries.” Accomplished in gouache and measuring 9.75” x 13” on heavy paper, the background is in good condition with cracks up to 3”, edge wear, and a 0.5” x 1” section missing at the top center.

(Schlesinger, 1941) An original hand-painted production background of a wooden counter from “Goofy Groceries.” Accomplished in gouache and measuring 9.5” x 13”, the background is in very good condition with light edge wear.

(Schlesinger, 1941) An original hand-painted egg carton production background from Merrie Melodies short “Goofy Groceries.” Measuring 10.25” x 13.5”, the background is accomplished on heavy paper and in good condition with scratches, wear, and material loss from tape, notably on the left side.

(Schlesinger, 1941) An original hand-painted background of an Animal Crackers box from the Merrie Melodies short “Goofy Groceries,” directed by Bob Clampett. Measuring 9.75” x 15.5”, the background displays in good condition with light paint loss, scratches up to 5" long, edge wear, scuffs, and large tears on both sides.

(Schlesinger, 1941) A multi-layer hand-painted production cel and background from the Merrie Melodies short “Goofy Groceries,” directed by Bob Clampett. With character image sizes from 2” x 6.5” to 4.25” x 5.5” on 10” x 12.5” cel layers and a 10” x 12.75” background, the pieces are in very good condition with light spots of paint loss, scratches, scuffs, tape residue from production use, and pinholes at the corners of the background from display.

(Schlesinger, 1941) A multi-layer hand-painted cel and an original background from the Bob Clampett-directed short “Goofy Groceries.” With character image sizes from 2.5” x 2.75” to 4” x 4” on 10” x 12.5” cel layers and a 9.5” x 12.5” background, the piece displays in good condition with paint loss, paint transfer from the cels onto the background, tape residue from production use, scratches, and the bottom right corner of the background clipped.

(Schlesinger, 1941) An original multi-layer cel and background featuring characters bathing in a kitchen sink pool from the Merrie Melodies short “Goofy Groceries.” With character image sizes from 1.5” x 2” to 4” x 5.75” on 10” x 12.5” cels paired with the original 9.75” x 13.75” background, the piece is in good to very good condition with scuffs, spots of paint loss, scratches, wear, and tape residue from production use.

(Schlesinger, 1941) An original multi-layer hand-painted cel and background from the Merrie Melodies short “Goofy Groceries,” directed by Bob Clampett. With image sizes from 2” x 4” to 4.5” x 12.25” on 10” x 12.5” cels and the original 10” x 14” background, the piece is in good condition with scratches, scuffs, spots of paint loss, wear, tape residue from production use, and a 2” tear on the left side of the background.

(Schlesinger, 1942) An original production background from the Looney Tunes short “Wacky Blackout,” directed by Bob Clampett. The background was created using a real Western Union telegram, which was modified to read "Western Onion," with alternate names of Company Heads. Measuring 10” x 14.25” with the telegram measuring 5.75” x 8”, the background is in good condition with light edge wear and creasing from production use, and the bottom two lines of the pasted text have detached from the telegram due to the age of the adhesive, but are included.

(Schlesinger, 1941) An original hand-painted production cel and background of the can-can dancers from “Goofy Groceries,” directed by Bob Clampett. With an image size of 5.5” x 10.75” on a 10” x 12.5” cel and a 9.75” x 12.75” background, the piece is in good to very good condition with spots of paint loss, scratches, wear, scuffs, and tape residue from production use.

(Schlesinger, 1941) An original hand-painted production cel and background of the turtle tank from “Goofy Groceries.” With an image size of 4” x 4” on a 10” x 12.5” cel and 10” x 13” background, the piece is in very good condition with scratches, spots of paint loss, wear, and tape residue from production use.

(Schlesinger, 1941) The original title card for the Looney Tunes short “We, the Animals - Squeak!” directed by Bob Clampett. Measuring 10” x 13”, the hand-painted card is in fair condition with edge wear and pinholes from production use, an area of adhesive residue towards the left side from a removed microphone illustration, the top right and bottom left corners torn away, a 2” x 0.25” tear along the left edge, and light discoloration from age.

(Schlesinger, 1943) A photostat model sheet of Mr. Meek for “The Wise Quacking Duck.” The rarely-seen character faced off against Daffy Duck in the classic short, directed by Bob Clampett. Measuring 11” x14”, the model sheet is in good condition, stamped on the reverse "Courtesy of the Bob Clampett Collection,” with a full vertical fold, creases, smudges, wear, and pinholes from production use.

NO LOT

(Schlesinger, 1941) A set of nine production drawings of Willoughby the dog from the Merrie Melodies cartoon “The Crackpot Quail,” directed by Tex Avery. The set features key poses in Willougby’s exaggerated run cycle with hind legs that get ahead of himself. The drawings are accomplished in red pencil on 9.5” x 12” animation paper, with one trimmed to 5.5” x 12”. The drawings have image sizes of up to 4” x 7” and are overall in very good production-used condition with light wear from age, and one in good condition with some edge wear and smudges.

(Schlesinger, 1940s) A collection of seven issues of The Exposure Sheet, the official studio newsletter for Leon Schlesinger Productions, and two issues of The Animator, the weekly newsletter for the Screen Cartoonists Guild. The newsletters measure 14” x 8.5”, except for one copy of The Animator which measures 8.5” x 11”, and are all in good condition with edge wear, creases, and rips, and two pages have detached from one issue of The Exposure Sheet but are included.

(Schlesinger, 1942) An original color model drawing for “Dainty” Dora Standpipe and the Old Sailor from the Merrie Melodies short “The Dover Boys at Pimento University.” Accomplished with graphite and colored pencil, with an image size of 6.5” x 4” on 9.5” x 12” animation paper, the drawing is in very good production-used condition with light creasing and discoloration from age.

(Schlesinger, 1942) Three cutouts of original character drawings for “The Moth and His Flame,” which was released under the title “Eatin’ on the Cuff.” The set includes the moth, his bee bride-to-be, and the black widow who tries to seduce him. Measuring from 3” x 6” to 6” x 9”, the cutout drawings accomplished in pencil and blue crayons are in very good condition with expected wear from production use and age, including small spots of discoloration and tape residue.

(Schlesinger, 1942) A photostat model sheet for “The Moth and His Flame,” released as “Eatin’ On the Cuff” and directed by Bob Clampett. Model sheets were distributed at the Studio to ensure consistent character design by different animators during production. Measuring 11” x 14”, the photostat is in very good condition with light handling wear from production use, and slight discoloration from age.

(Clampett, 1943) A hand-typed letter from Elmer Fudd to the famous Hollywood gossip columnist Hedda Hopper. Written by Bob Clampett, the letter is typed phonetically to reflect Elmer's very distinctive speech. He asks Hedda Hopper for permission to use her gossip column, "Hedda Hopper’s Hollywood," in a proposed (yet ultimately unproduced) cartoon titled "Mewwie Mewodie." Typed on paper and measuring 8.5” x 11”, both pages are in good condition, each with two light horizontal creases from being folded into thirds, and a small tear from a staple to the top left corner.

(Schlesinger, 1943) A collection of 12 storyboard panels from the Merrie Melodies short “An Itch in Time,” directed by Bob Clampett. Each panel is accomplished in graphite and colored pencil and ranges in size from 4.5” x 5.75” to 7.5”. The collection is in good condition with edge wear, pinholes and light corner tears from production use, and light discoloration from age.

(Schlesinger, 1943) A collection of 12 storyboard panels from the Merrie Melodies short “An Itch in Time,” directed by Bob Clampett. Accomplished in graphite and colored pencil and ranging in size from 5” x 7.5” to 6” x 7.75”, the panels are in good condition with edge wear, pinholes and light corner tears from production use, and light discoloration from age.

(Schlesinger, 1943) A pair of production drawings of A. Flea and a dog from “An Itch in Time.” The short was directed by Bob Clampett, who also wrote the song “Food Around the Corner” for the film. With image sizes ranging from 3.5” x 4” to 5” x 6” on 9.5” x 12” animation paper, the graphite and colored pencil drawings are in good condition with creases, discoloration from age, wear from production use, and a graphite inscription on the reverse of the A. Flea drawing.

(Schlesinger, 1943) A set of 11 sequential storyboard panels featuring Daffy Duck from the Merrie Melodies short “A Corny Concerto,” directed by Bob Clampett. On the reverse of the panels are seven sequential drawings of Gabby from “Porky’s Badtime Story.” This is not uncommon, as Warner Brothers would save money by cutting old production drawings into quarters for the backs to be re-used as storyboard paper. Ranging in size from 5” x 7” to 5.75” x 7.25”, the panels display in good condition with edge wear, creases, and pinholes with some tears from production use, and light discoloration from age.

(Schlesinger, 1942) A collection of five storyboard panels from the Merrie Melodies short “My Favorite Duck” featuring Porky Pig and Daffy Duck. Accomplished in graphite and colored pencil and measuring 6” x 4.5”, the panels display in good condition with edge wear, creases, and pinholes with some corner tears from production use, and light discoloration from age.

(McKimson, 1930s-40s) A Christmas card drawn by Tom McKimson. The drawing, made up almost entirely of animator’s timing notations, was a joke for Bob Clampett, as Tom and his brother, Bob, were known by Clampett as “The Mechanical McKimsons” because they animated “as if they had a blueprint in their mind that they were just tracing onto the paper.” Measuring 9.75” x 12”, the drawing is in good condition with edge wear and creasing, two 0.25” tears on the top edge, and light discoloration from age.

(Schlesinger, 1944) A pair of layout drawings from “Russian Rhapsody,” directed by Bob Clampett. The layouts depict Hitler and the “New Odor” rally he addresses, with both signed by Bob Clampett. With image sizes of 6.75” x 9” on 9.5” x 12” paper, the drawings accomplished in graphite and crayon are in very good condition with expected wear from production use, small oxidation marks from a paper clip in the border of one, and stamped on the back “Courtesy of the Bob Clampett Collection.

(Warner Bros., 1944) A Papa Bear, Mama Bear, and Baby Bear comparative size chart for the Merrie Melodies short “The Bear’s Tale.” Size charts such as this were used by animators during production to maintain character consistency. Measuring 5.75” x 9.5” adhered to a 6.75” x 10” piece of cardstock, the piece displays in very good condition with light wear, glue residue, edge wear, and pinholes at the corner from production use.

(Warner Bros., 1945) A photostat model sheet of secondary characters from the Merrie Melodies cartoon “A Gruesome Twosome.” This was the last cartoon featuring Tweety Bird to be directed by Bob Clampett. Model sheets such as these were distributed to animators and crew working on the film to ensure character design continuity. Measuring 11” x 14”, the model sheet is in very good condition with light wear from production use including pinholes at the corners, slight waviness, and a 0.5” hairline crack near the upper left corner.

(Warner Bros., 1953) A panoramic layout rough for a traffic gag concept, used during the development of 1953's Looney Tunes short "There Auto Be a Law." Accomplished in graphite and colored pencil, the layout features angry pedestrians in a traffic jam, with several cutouts of cars adhered to the paper. Measuring 6” x 37.5”, the piece is in good condition with creases, pinholes, wear, and discoloration from age.

(Schlesinger, 1943) An original “Merrie Melodies” title card layout drawing. The Merrie Melodies series introduced many of the most popular cartoon characters of all time, including Bugs Bunny, Porky Pig, and Tweety Bird. This design was used from 1942 to 1944, with this particular layout created for the Merrie Melodies short “An Itch in Time,” directed by Bob Clampett. The cartoon’s original title art and film elements are lost, and this drawing is believed to be one of the only two surviving pieces of production title art for the short, the other being the “Warner Bros. Present” title card drawing featured in the next lot. Measuring 9.5” x 12” overall, the graphite and colored pencil drawing displays in fine condition, stamped “Courtesy of the Bob Clampett Collection,” with light discoloration from age.

(Schlesinger, 1943) An original “Warner Bros. Present” title card layout drawing. The WB Shield at the center of a set of colorful rings is the most iconic opening title of the Golden Age of animation. This design was used from 1942 to 1944, with this layout created for the Merrie Melodies short, “An Itch in Time,” directed by Bob Clampett. This cartoon’s original final title art and film elements are lost and this drawing is believed to be one of the only two surviving pieces of production art for the title cards used during that era, the other being the Merrie Melodies logo which preceded it. Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing displays in fine condition, stamped “Courtesy of the Bob Clampett Collection,” with light discoloration from age.

(Schlesinger, 1944) An unused original production layout of the “That’s All Folks!” text from the Merrie Melodies short, “The Old Grey Hare” directed by Bob Clampett. Updates were regularly made to the Looney Tunes and Merrie Melodies opening and closing cards. This layout was altered as Leon Schlesinger sold his studio and its characters to Warner Bros. during this film’s production, and his credit as producer was changed to Warner Bros. Cartoons, Inc. No other three words are as synonymous with the Golden Age of Animation as “That’s all Folks!” Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing displays in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light edge wear and pinholes from production use and light discoloration from age.

(Schlesinger, 1944) An original layout drawing of the color ring background appearing behind the iconic “That’s All Folks!” text from Merrie Melodies and Looney Tunes shorts. This particular layout was created especially for the Merrie Melodies short “The Old Grey Hare,” directed by Bob Clampett. Accomplished in graphite and colored pencil and measuring 9.5” x 12”, the drawing displays in very good condition, stamped “Courtesy of the Bob Clampett Collection”, with light edge wear and pinholes from production use and light discoloration from age.

(Schlesinger, 1942) The original title credit cel and background for “The Hep Cat,” directed by Bob Clampett. The title was later changed to the Blue Ribbon series card, with this original piece rarely seen. Accomplished in gouache and cel paint, the 10” x 12.5” cel and the 10” x 14” background are in good condition with scratches throughout, spots of paint loss, discoloration from age, pinholes on the background from production use, and a faded “Bob Clampett” stamp at the bottom right corner.

(Schlesinger, 1942) An original drawing for a publicity image of the Looney Tunes short “The Hep Cat” directed by Bob Clampett. This cartoon is widely considered to be a turning point in Clampett’s career as it displayed a level of wild and rubbery animation, wackiness, surrealism, and violence that would come to define his signature style and would only continue to escalate throughout his tenure at Warner Bros. Accomplished in graphite and colored pencil, and measuring 9.5” x 12”, the drawing displays in very good condition with light edge wear and creasing, a minor rip in the lower right corner which does not affect the image, and light discoloration from age.

(Schlesinger, 1940) The original title and credit cel for the Looney Tunes short “The Sour Puss,” directed by Bob Clampett. With a character image size of 7.75” x 9.75” on a 10” x 12.5” cel, the piece is in good condition with scratches throughout, spots of paint loss, and tape residue from production use.

(Schlesinger, 1940) An original production cel from the Merrie Melodies short “Elmer’s Candid Camera,” which starred Elmer Fudd and a prototype Bugs Bunny one year before his official debut. The cel has been trimmed to 9” x 11.5” with a character image size of 8” x 5.75” and is in very good condition. The cel was marketed for sale by Warner Bros and features a screen-printed facsimile Leon Schlesinger signature, and has light warping from age.

NO LOT

(Warner Bros., 1940s) A model sheet for Bugs Bunny as he appeared from 1942 to 1948. Model sheets such as this were distributed to animators to ensure consistency of character design. Measuring 11” x 14”, the model sheet is in good condition, with pinholes from production use, light handling wear including a soft crease to the lower left corner, wear along the right edge including a chip to the bottom corner, and a 5” tear in the border repaired with tape.

(Schlesinger, 1940s) A drawing of Bugs Bunny on the iconic Warner Bros. shield, seen in the 1975 documentary film “Bugs Bunny: Superstar,” and used in 2007 to create a limited edition cel. Accomplished in graphite and colored pencil and measuring 9.5” x 12” with a character image size of 5.75” x 3”, the drawing is in good condition with edge wear, pinholes, adhesive residue, and light discoloration from age.

(Schlesinger, 1940-41) An original Bugs Bunny layout drawing by Bob McKimson. This drawing was used for an oil painting gifted to producer Leon Schlesinger from his employees at Christmas and in 1986 was used to create a limited edition cel. Measuring 12” x 9.5” with a character image size of 12” x 5.75” the drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with edge wear, pinholes, tears along the right side, a 1” rip to the bottom right corner, a fold running the length of the page 2” out from the right side, and light discoloration from age.

(Clampett, 1940s) A drawing of Bugs Bunny by Bob Clampett used as a preliminary color model for a Christmas Card presented to the women of the Ink and Paint Department along with a new bathroom mirror for Christmas. Accomplished in graphite and color pencils with a character image of 6.5” x 3.5” on 9” x 12” animation paper, the drawing is in good condition with edge wear, light horizontal and vertical creases from being folded into quarters, a 2.5” piece of tape along the center top edge, creases along the bottom right and lower left edges, a 0.25” tear to the bottom center, and light discoloration from age.

(Schlesinger, 1941) An original hand-painted production cel of Bugs Bunny from the Merrie Melodies short, “The Heckling Hare.” Measuring 9.75” x 11.75” with a character image size of 5.5” x 3”, the cel displays in good condition with a small sticker on the reverse of the lower left corner, light line loss, and spots of paint lifting and loss to the left ear, hand, and leg, and light warping.

(Schlesinger, 1941) An original hand-painted production cel of Bugs Bunny from the Merrie Melodies cartoon “The Heckling Hare.” Measuring 9.75” x 11.75” with a character image size of 4.75” x 4.25”, the cel displays in very good condition with a small sticker on the reverse of the lower left corner, light line loss, a spot of paint lifting and loss to the left hand, and light warping.

(Schlesinger, 1941) An original hand-painted production cel of Bugs Bunny from the Merrie Melodies cartoon “The Heckling Hare,” directed by Tex Avery. Measuring 9.75” x 11.75” with a character image size of 5.75” x 2.75”, the cel displays in very good condition with a small sticker on the reverse of the lower left corner, light line loss, a spot of paint lifting and loss to the left hand, and light warping.

(Schlesinger, 1941) An original hand-painted production cel of Bugs Bunny from the Merrie Melodies cartoon “The Heckling Hare.” With a character image size of 4.75” x 4.5” on a 9.75” x 11.75” cel, the piece displays in good condition with a small sticker on the reverse of the lower left corner, light line loss, spots of paint lifting and loss to the tip of the left ear and carrot leaves, and light warping.

(Schlesinger, 1941) An original hand-painted production cel of Bugs Bunny from the Merrie Melodies cartoon “The Heckling Hare.” With a character image of 5.5” x 2.75” on a 9.75” x 11.75” cel, the piece displays in very fine condition with a small sticker on the reverse of the lower left corner and light line loss and warping.

(Schlesinger, 1941) An original hand-painted production cel of Bugs Bunny from the Merrie Melodies cartoon “The Heckling Hare,” directed by Tex Avery. Measuring 9.75” x 11.75” with a character image size of 4.5” x 3.5”, the cel displays in good condition with a small sticker on the reverse of the lower left corner, spots of paint lifting and loss on the carrot and tail, top corner pinholes and light warping.

(Schlesinger, 1941) An original hand-painted production cel of Bugs Bunny from the Merrie Melodies cartoon “The Heckling Hare,” directed by Tex Avery. Measuring 9.75” x 11.75” with a character image size of 4” x 5”, the cel displays in good condition with a small sticker on the reverse of the lower left corner, light warping, and spots of paint lifting and loss on ears, carrot, legs, and lower body.

(Schlesinger, 1941) An original hand-drawn model sheet of Elmer Fudd from the Merrie Melodies short “Wabbit Twouble,” signed and dated by Tex Avery. This redesign of Elmer gives the character a fatter, rounder look compared to his previous appearances, in an attempt to model him after his voice actor, Arthur Q. Bryan. Measuring 9.5” x 12”, the graphite sheet is in good condition with edge wear, creases, smudges, finger prints, a horizontal fold running the width of the sheet 1.75” up from the bottom, and light discoloration from age.

(Schlesinger, 1943) An original page of hand-written gag ideas for the Looney Tunes short “Buckaroo Bugs,” directed by Bob Clampett. Both sides of the sheet are filled with gags, puns, and suggestions for schtick, with some notes crossed out and others written over in orange pencil. At gag meetings animators and other staff would pitch individual jokes or “gags” for an upcoming cartoon idea, usually getting paid a bonus for each of their gags used. Accomplished in graphite and colored pencil, the 9.5” x 12” page is in good condition with edge wear, creasing, and light discoloration from age.

(Schlesinger, 1940) A hand-drawn original model sheet for the debut of Cecil Turtle in the Merrie Melodies cartoon “Tortoise Beats Hare,” directed by Tex Avery. This rare original model sheet features six original pencil drawings of Cecil that were cut out and arranged on a card, with text and two detail studies of his mouth drawn directly on the card. Photostats created from this original were distributed to animators to ensure the character’s design stayed consistent. The card is also signed by Bob Clampett. Measuring 11” x 13.75” with image sizes up to 4.25” x 5.5”, the original model sheet is in fair condition, with heavy wear to edges including chipping, creases, and pinholes, and a large tear across the bottom that has been repaired with tape on the back.

(Schlesinger, 1941) An original production background from the Merrie Melodies short “Tortoise Beats Hare.” With an image size of 9” x 11.5” on 10” x 12.5” paper, with a "Courtesy of the Bob Clampett Collection” stamp, the hand-painted background is in very good condition with pinholes at the corner and light wear from production use.

(Schlesinger, 1941) An original storyboard drawing by Chuck Jones of Elmer Fudd from the Merrie Melodies short “Elmer’s Pet Rabbit.” Measuring 9.5” x 12” overall, with a character image size of 5” x 3”, the graphite drawing is in very good condition with light edge wear and pinholes from production use and light discoloration from age.

(Schlesinger, 1941) An original storyboard drawing of Bugs Bunny by Chuck Jones from the Merrie Melodies short “Elmer’s Pet Rabbit.” Measuring 9.5” x 12” overall, with a character image size of 5” x 7”, the graphite drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light edge wear and light discoloration from age.

(Schlesinger, 1941) An original storyboard drawing by Chuck Jones from the Merrie Melodies short “Elmer’s Pet Rabbit,” featuring Bugs Bunny and Elmer Fudd. Accomplished in graphite and measuring 9.5” x 12” with a character image size of 7” x 10” the drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with light edge wear from production use and light discoloration from age.

(Schlesinger, 1941) An original storyboard drawing by Chuck Jones from the Merrie Melodies short “Elmer’s Pet Rabbit,” featuring Bugs Bunny and Elmer Fudd. Accomplished in graphite and measuring 9.5” x 12” with character image sizes of 5.25” x 3.25” and 3.5” x 5”, the drawing is in very good condition with light edge wear and light discoloration from age.

(Schlesinger, 1941) An original storyboard drawing of Elmer and Bugs by Chuck Jones from the Merrie Melodies short “Elmer’s Pet Rabbit.” Measuring 9.5” x 12” with a character image size of 7” x 6”, the graphite drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light edge wear and light discoloration from age.

(Schlesinger, 1941) An original storyboard drawing by Chuck Jones from the Merrie Melodies short “Elmer’s Pet Rabbit,” featuring Bugs Bunny and Elmer Fudd. Measuring 9.5” x 12” overall, with a character image size of 7.75” x 10.5, the graphite drawing is in good condition, stamped “Courtesy of the Bob Clampett Collection,” with edge wear and tear, light creasing, pinholes from production use, and light discoloration from age.

(Schlesinger, 1941) An original storyboard drawing by Chuck Jones from the Merrie Melodies short “Elmer’s Pet Rabbit,” featuring Elmer Fudd. Measuring 9.5” x 12” overall, with a character image size of 6.75” x 4.75”, the graphite drawing is in very good condition, stamped “Courtesy of the Bob Clampett Collection,” with light edge wear and light discoloration from age.

(Schlesinger, 1940s) A collection of eight storyboard panels from an unproduced short starring Bugs Bunny and Daffy Duck. In these panels, Bugs and Daffy joke about being so hungry they want to eat a horse, highlighting the meat rationing in the U.S. at the time. Accomplished in graphite and colored pencil measuring 4.75” x 6”, the panels range from good to very good condition with light edge wear and creasing, pinhole tears, and light discoloration from age.

(Schlesinger, 1941-43) A pair of storyboard panels from an unknown short featuring Bugs Bunny. Accomplished in graphite and measuring 4.75” x 6” each, the panels are in good production-used condition, stamped “Courtesy of the Bob Clampett Collection,” with edge wear, creasing, pinholes, and light discoloration from age.

(Schlesinger, 1942) A pair of original Beaky Buzzard development drawings. The first features a version of Beaky modeled after Mortimer Snerd, while the second resembles the character as he appeared in his debut “Bugs Bunny Gets the Boid.” Each graphite drawing measures 9.5” x 12” and display in very good production-used condition with light discoloration, light creasing, and edge wear.

(Schlesinger, 1944) A trio of Beaky Buzzard and Family photostat model sheets from the Merrie Melodies short “The Bashful Buzzard,” directed by Bob Clampett. Measuring 10.75” x 13.75”, the model sheets are in good condition with edge wear, creasing, pinholes and corner tears from production use, vertical folds down the center from being folded in half, and light discoloration from age.

(Schlesinger, 1942) A model cel for Beaky Buzzard from his first appearance in “Bugs Bunny Gets the Boid,” directed by Bob Clampett. With an image size of 3” x 4.5” on a 10” x 12.25” cel, the piece is in very good production-used condition three pinholes along the top, light scuffs and wear, and very slight paint lifting visible in the yellow of the feet.

(Schlesinger, 1943) An original hand-painted production background of Tortoise’s house from “Tortoise Wins by a Hare.” This Merrie Melodies short, directed by Bob Clampett, is notable for introducing Robert McKimson's design of Bugs Bunny. With an image size of 8.75” x 11.5” on 10” x 14” heavy paper, stamped “Courtesy of the Bob Clampett Collection,” the background displays in very good condition with light waviness, stains, scratches, and edge wear.

(Schlesinger, 1943) A collection of 12 storyboard panels featuring Bugs Bunny and Cecil Turtle from the Merrie Melodies short “Tortoise Wins by a Hare, directed by Bob Clampett. Accomplished in graphite and colored pencil and measuring 7” x 6” each, the panels are in good condition with edge wear, pinholes and light corner tears from production use, and light discoloration from age.

(Schlesinger, 1943) A pair of original production cels of Bugs Bunny, Cecil Turtle, and a blueprint from the Merrie Melodie short “Tortoise Wins by a Hare,” directed by Bob Clampett. With character image sizes of 2.75” x 3.5” and 9.5” x 10.5” on 10” x 12.25” cels, the pair are in fine production-used condition.

(Schlesinger, 1943) The complete set of 84 storyboard panels for the Merrie Melodies short “Falling Hare,” directed by Bob Clampett. Complete storyboards from Merrie Melodies and Looney Tunes shorts are incredibly rare. This short is one of the true standouts of the WWII-era Warner Bros. cartoons, featuring Bugs Bunny in a confrontation with one of the few antagonists to outsmart him: a saboteur Gremlin. Accomplished in graphite and colored pencil, and ranging in size from 4.5” x 6” to 5” x 6”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Schlesinger, 1943) An original character study of the Gremlin from the Merrie Melodies short “Falling Hare,” directed by Bob Clampett. Measuring 9.5” x 12” overall, with the character image taking up most of the page, the graphite and colored pencil drawing is in very good condition with light edge wear from production use and light discoloration from age.

(Schlesinger, 1943) An original production cel of Bugs Bunny and the Gremlin from the Merrie Melodies short “Falling Hare,” directed by Bob Clampett. With a character image size of 7” x 7.25”, on a 10” x 12.25” cel, the piece is in fine production-used condition.

(Schlesinger, 1943) An original production cel of Bugs Bunny and the Gremlin from the Merrie Melodies short “Falling Hare. With a character image size of 7” x 7.25” on a 10” x 12.25” cel, the piece is in good condition with paint lifting, spots of paint loss to Bugs’ right ear, neck, left arm, right hand, face, and the Gremlin’s right foot, and a sticker measuring 0.5” x 0.75” on the reverse of the lower left corner which does not affect the image.

(Schlesinger, 1943) An original multi-layer production cel of Bugs Bunny reading “Victory Through Hare Power” from the Merrie Melodies short “Falling Hare,” directed by Bob Clampett. Measuring 10” x 12.25” overall, with a character image size of 8” x 9.5”, the cel is in very good condition with pieces of tape in each corner measuring 0.5” to 1” which do not affect the image.

(Schlesinger, 1943) An original production cel of Bugs Bunny from the Merrie Melodies short “Falling Hare.” With a character image size of 6.25” x 4.25” on a 10” x 12.25” cel, the piece is in good condition with paint lifting, a small spot of paint loss to Bug’s left foot, and a 0.5” x 0.75” sticker on the reverse of the lower left corner which does not affect the image.

(Schlesinger, 1943) An original production cel of Bugs Bunny from the Merrie Melodies short “Falling Hare.” With a character image size of 9” x 5” on a 10” x 12.25” cel, the piece is in good condition with paint lifting, paint loss to Bugs’ left ear, mouth, hands, and lower back, and a 0.5” x 0.75” sticker on the reverse of the lower left corner which does not affect the image.

(Schlesinger, 1943) An original production background from the Merrie Melodies short “Jack-Wabbit and the Beanstalk.” Accomplished in gouache and trimmed to 9” x 12.75”, the background is in good condition with edge wear and pinholes from production use, a 0.5” tear on the bottom edge, and adhesive residue on the reverse.

(Schlesinger, 1943) A production-used photostat model sheet of Bugs Bunny, dated 1943 and used by Bob Clampett’s unit at the Studio. Measuring 11” x 14”, the sheet is in very good condition with edge wear, creasing, pinholes, adhesive residue, and light discoloration from age.

(Warner Bros., 1944) An original story drawing of Baby Bugs and Baby Elmer from the Merrie Melodies short “The Old Grey Hare,” directed by Bob Clampett. The drawing appears to be an idea for the opening or closing titles of the short. Measuring 9.5” x 12” with a character image size of 5” x 2.75”, the colored pencil drawing is in fine condition, stamped “Courtesy of the Bob Clampett Collection,” with a minor spot of edge wear measuring 0.25” on the bottom and light discoloration from age.

(Warner Bros., 1944) A rough sketch of Gran’ Pappy Bugs from the Merrie Melodies short, “The Old Grey Hare,” directed by Bob Clampett. Measuring 9.5” x 12” with character image sizes from 2” x 1” to 4” x 2.75”, the ink and colored pencil drawing displays in good condition, stamped “Courtesy of the Bob Clampett Collection,” with edge wear and creasing from production use and light discoloration from age.

(Warner Bros., 1944) An original production-used photostat model sheet of Bugs Bunny and Elmer Fudd from the Merrie Melodies short “The Old Grey Hare,” directed by Bob Clampett. Model sheets such as this were distributed to animators and crew working on the film to ensure character design continuity. Measuring 11” x 13.75”, the model sheet displays in very good production-used condition with light edge wear and creasing from production use and light discoloration from age.

(Warner Bros., 1944) An original photostat model sheet of Bugs Bunny and Elmer Fudd from the Merrie Melodies short “The Old Grey Hare,” signed in graphite by the director Bob Clampett. Measuring 11” x 13.75”, the model sheet is in good condition with light edge wear and warping, a 0.5” x 1” rip to the lower left corner, a 1” x 3.25” rip to the lower right side, a 1.5” tear on the bottom edge, a vertical fold along the center from being folded in half, a 4.5” diagonal crease along the bottom edge, and light discoloration from age.

(Warner Bros., 1944) An original production background from the Merrie Melodies short “The Old Grey Hare,” directed by Bob Clampett. Accomplished in gouache and measuring 10” x 12.75”, the background displays in good condition with an area of adhesive residue to the left of the lower center, small areas of tape along the upper left and right sides, and light warping from production use.

(Warner Bros., 1944) A pair of original production cels of Bugs Bunny and Elmer Fudd from the Merrie Melodies short “The Old Grey Hare.” With image sizes of 4.5” x 8.25” and 6.5” x 7” on cels measuring 9.75” x 12.25” and 10” x 12.25”, the pair are in fine production-used condition.

(Warner Bros., 1944) An original production background from the Merrie Melodies cartoon “The Old Grey Hare,” directed by Bob Clampett. This can be seen at the 5-minute 20-second mark as Elmer’s baby buggy races forward along the road and exits the frame on the right. With an image size of 10” x 13” on 10” x 14” animation paper, the background accomplished in gouache is in good condition, with a few marks, tape residue, and a “Courtesy of the Bob Clampett Collection” stamp in the border areas.

(Schlesinger, 1944) An original production cel of Bugs Bunny with the scene matching production background from the Merrie Melodies short “What’s Cookin’ Doc?” With a character image size of 5.5” x 3” on a 9.75” x 13.75” cel and background, the piece is in very good condition with light scuffs to the cel which do not affect the image, a break to the carrot juice glass and a small missing piece of the right handle of the ice bucket on the top layer of the background. This artwork was featured as part of an exhibit at the opening of the Academy Museum of Motion Pictures in Los Angeles.

(Schlesinger, 1944) An original production cel of Bugs Bunny imitating Charles Boyer from the Merrie Melodies short “What’s Cookin’ Doc?” directed by Bob Clampett. With a character image size of 3.5” x 6” on a 10” x 12.5” cel, the piece is in very good condition with light scuffs and pinholes in the corner which do not affect the image.

(Schlesinger, 1944) A pair of original production cels from “What’s Cookin’ Doc?” directed by Bob Clampett. The "Warner Bros. Presents" title appears on screen beside Bugs Bunny, as he makes his case for winning the Oscar. With image sizes of 2” x 4” and 7.5” x 5.5” on 10” x 12.5” cels, one cel is in fair condition with scuffs and scratches, a vertical crease running the center length of the cel, adhesive residue from a missing photo element, and light discoloration from age, while the other is in very good production-used condition.

(Schlesinger, 1944) An original production background from the Bob Clampett-directed Merrie Melodies short “What’s Cookin’ Doc?” starring Bugs Bunny. The background was accomplished by hand-tinting a photograph of Harold Lloyd’s hand impressions outside Grauman’s Chinese Theater. Measuring 10” x 13.75”, the background displays in good condition with edge wear, tape residue, and tears around the edges which do not affect the image, and discoloration from age.

(Schlesinger, 1944) An original production background from the Bob Clampett-directed Merrie Melodies short “What’s Cookin’ Doc?” starring Bugs Bunny. The background was accomplished by hand-tinting a photograph of Shirley Temple’s hand impressions outside Grauman’s Chinese Theater. Measuring 10” x 13.75” the background displays in good condition with a 1.5” x 2” stain to the upper right, edge wear, and discoloration from age.

(Schlesinger, 1944) An original production background from the Bob Clampett-directed Merrie Melodies short “What’s Cookin’ Doc?” starring Bugs Bunny. The background was accomplished by hand-tinting a photograph of Joe E. Brown's hand and feet impressions from outside Grauman’s Chinese Theater. Measuring 11” x 12.5” the background displays in good condition with light edge wear and tear from production use and light discoloration from age.

(Schlesinger, 1944) A production drawing of Bugs Bunny from the Merrie Melodies short “What’s Cookin’ Doc?” Bob McKimson is credited as the animator in a pencil inscription on the reverse. With an image size of 6” x 7” on 9.5” x 12” animation paper, the graphite and colored pencil drawing is in very good condition with light creases, edge wear, and discoloration from age.

(Schlesinger, 1944) A group of four original storyboard drawings featuring Bugs Bunny from the Merrie Melodies short “What’s Cookin’ Doc?” directed by Bob Clampett. Accomplished in graphite and colored pencil, the drawings each measuring 9.5” x 12” are in very good condition with light edge wear and pin holes from production use and light discoloration from age.

(Warner Bros., 1944) A set of three original storyboard panels featuring Bugs Bunny from the Merrie Melodies short “What’s Cookin Doc?” directed by Bob Clampett. Accomplished in graphite and colored pencil and measuring 6” x 7”, the panels are in good condition with light edge wear, pinholes, and smudging from production use, and light discoloration from age.

(Schlesinger, 1944) A pair of original photostat model sheets of Elmer Fudd from the Merrie Melodies short “The Old Grey Hare,” directed by Bob Clampett. Model sheets such as these were distributed to animators and crew working on the film to ensure character design continuity. Measuring 5.5” x 13.75” each, the model sheets are in good to very good condition with edge wear, pinholes, and discoloration, one with warping, and a 0.5” fold to the top edge of the other.

(Schlesinger, 1940s/70s) A photoprint of an early Bob Clampett Bugs Bunny model sheet drawn by Bob Givens. Measuring 11” x 14”, the print is in good condition stamped with “Courtesy of the Bob Clampett Collection” on the reverse, light warping on the left and right edges, and light paper loss around the edges of the reverse from tape.

(Warner Bros., 1940s) An original photostat model sheet of Bugs Bunny as he appeared from 1942 to 1948. Model sheets such as this were distributed to animators and crew working on the film to ensure character design continuity. Measuring 11” x 14”, the model sheet is in good condition, with pinholes from production use, light creasing and edge wear, and tears measuring between 0.25” and 0.5” along the top edge which do not affect the image area.

(Warner Bros., 1945) A hand-drawn model sheet of the Little Man from the Draft Board from the Looney Tunes short “Draftee Daffy,” directed by Bob Clampett. Accomplished in graphite, colored pencil, and oil pastel, with a 4.25” x 10” character image on 9.5” x 12” animation paper, the drawing is in good condition with a horizontal and vertical crease from being folded into quarters, edge wear, a 2” crease in the lower left corner, and discoloration from age.

(Warner Bros., 1945) A collection of three storyboard panels of Elephants from the Bob Clampett-directed Looney Tunes short “The Bashful Buzzard.” The panels feature production drawings from the Looney Tunes short “Porky’s Five and Ten” on their reverse sides. This practice was not uncommon, as Warner Bros. would save costs by cutting old production drawings into quarters, using the backs as storyboard paper. Measuring 4.5” x 6”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Warner Bros., 1945) A collection of five storyboard panels from the Bob Clampett-directed Looney Tunes short “The Bashful Buzzard,” featuring the debut of Beaky Buzzard. Accomplished in graphite, the sequential boards depict Beaky and his mother in the final scene, where he brings home a dragon for dinner, featuring alternate dialogue that was not included in the final film. Measuring 4.75” x 6”, the panels display in very good production-used condition with creases, pinholes with some corner tears, and light discoloration from age.

(Warner Bros., 1940s) A color test for a print titled “The One and Only Bugs Bunny.” The color elements of the monochrome print are hand-painted, and this version represents the final art later used in a limited edition serigraph released in 2007. Measuring 9” x 13.5”, the print is in good condition with light discoloration, scratches, and creases throughout.

(Warner Bros., 1950) A single page of music and lyrics from the full score for the original song “What’s Up Doc?” sung by Bugs Bunny from the Looney Tunes short of the same name. Accomplished in graphite by Carl Stalling, the page measures 12.5” x 9.5” and is in good condition with light edge wear and creasing, a 0.25” strip of adhesive residue running the length of the right side on the reverse, and light discoloration from age.

(Dell, 1940s) A Bugs Bunny Looney Tunes and Merrie Melodies Dell Comics print, offered to readers who subscribed to the comic series and aso given at the studio as gifts. Measuring 8.5” x 11”, the print is in very good condition with light wear and discoloration from age.

(Dell, 1944) A Bugs Bunny Looney Tunes & Merrie Melodies Comics print. This piece was included in a special three-year subscription offer to comic readers and aso given at the studio as gifts. Measuring 8” x 10.25”, the print is in good condition with scratches, edge wear, scuffs, and discoloration from age.

(Warner Bros., 1955) A Warner Brothers Cartoon Division letter-sized envelope. Upon moving to Burbank in 1955, the Cartoon division’s first address was 461 S. California St. on the eastern side of the Warner Brothers Studio lot. The envelope pictures their most popular characters on the front, with Looney Tunes and Merrie Melodies logos on the back. Measuring 9.5” x 4.25” the envelope is in fine unused condition, with very light wear from age.

(Clampett, 1940s) One of Bob Clampet’s personal Christmas cards featuring Bugs Bunny that he had created to be given to friends and family. The interior of the unused card is printed with the text “Bugs and Bob Clampett.” Measuring 4.75” x 7”, the card is in fine condition and is presented with its matching envelope which measures 5” x 7.25” and is also in fine condition.

(Warner Bros., 1950s) A collection of eight storyboard panels from an unknown production featuring Bugs Bunny and Elmer Fudd. Measuring 5.75” x 7”, the panels are in very good condition with pinholes and corner tears from production use and light discoloration from age.

(Warner Bros., 1953) A set of three original storyboard panels featuring Bugs Bunny from the Looney Tunes short “Forward March Hare.” Accomplished in graphite and colored pencil and measuring 5.75” x 7”, the panels are in very good condition with light edge wear and pinholes from production use, and light discoloration from age.

(Warner Bros., 1953) An original storyboard panel featuring Bugs Bunny from the Looney Tunes short “Forward March Hare.” Accomplished in graphite and colored pencil, possibly by Chuck Jones, and measuring 5.75” x 7”, the panel is in very good condition with light edge wear and pinholes from production use, and light discoloration from age.

(Warner Bros., 1950s) A collection of 11 storyboard panels featuring Yosemite Sam from an unknown production. Accomplished in graphite and colored pencil and measuring 5.75” x 7”, the panels are in good condition with edge wear, creasing, and pinholes from production use, light discoloration from age, and one stamped with “Courtesy of the Bob Clampett Collection.”

(Warner Bros. 1957) A pair of original storyboard panels featuring Bugs and Daffy from the Looney Tunes short “Show Biz Bugs.” Accomplished in graphite and colored pencil and measuring 5.75” x 7”, the panels are in very good condition with pinholes from production use and light discoloration from age.

(Warner Bros. 1957) A pair of original storyboard panels of Bugs Bunny and Daffy Duck from the Looney Tunes short “Show Biz Bugs.” Accomplished in graphite and colored pencil and measuring 5.75” x 7”, the panels are in very good condition with pinholes from production use and light discoloration from age.

(Warner Bros. 1957) A pair of original storyboard panels featuring Bugs Bunny and Daffy Duck from the Looney Tunes short “Show Biz Bugs.” Accomplished in graphite and colored pencil and measuring 5.75” x 7”, the panels are in very good condition with pinholes from production use and light discoloration from age.

(Warner Bros., 1975) An original hand-painted multi-layer production cel of Bugs Bunny as a baby from the documentary “Bugs Bunny: Superstar.” The cel appears onscreen as Bob Clampett retells his story of the character's birth and was used for the back cover of the film’s home video releases in 1988. With a character image size of 4.5” x 4” on 9.5” x 12.75” cels, the piece is in very good condition with adhesive residue on the left edge which does not affect the image.

(Schlesinger, 1942 / United Artists, 1975) An original production-used background from the Looney Tunes short “Porky’s Pooch” directed by Bob Clampett. Many of the backgrounds in this cartoon were actual photographs taken by Clampett himself in San Francisco specifically for the production. This photo of an apartment building had been hand-altered with ink and paint to change its name to “Termite Terrace,” the name Bob had affectionately given to the Schlesinger Productions animation building. This background was used again in the documentary film “Bugs Bunny: Superstar” while Bob is describing the studio and remarks “sometimes we wished it was a little bit fancier.” The glossy photographic background measures 10” x 14” and is in fair condition with creasing, edge wear, and rips and tears along the top and left side.

(Clampett, 1940s) A risque Christmas Card created by Rod Scribner for Bob Clampett. The card features Bugs Bunny in bed with a naked woman, while Clampett, dressed as Santa Claus and holding the pair at gunpoint, offers a trade proposition. This one-of-a-kind card is signed by legendary animators in Clampett’s department including Tom McKimson, Bob McKimson, and Bill Melendez. Measuring 12” x 25.5”, the art displays in good condition with creases, folds, wear, and stains, including a white paint streak through the center, a 3” intentional cut where an unknown gift had been “held” by the Clampett caricature, and creases and tears to the signatures scroll.

(Schlesinger, 1941) An original production background from the Merrie Melodies cartoon “Hollywood Steps Out,” directed by Tex Avery. This background is seen twice as Bing Crosby appears to announce the next act. Accomplished in gouache and colored pencil, the background with an image size of 8.75” x 11.25” on 11” x 14” paper is in very good condition, with a 0.5” hairline tear in the bottom left edge, and light handling wear to the non-image edges from production use.

(Schlesinger, 1941) A model drawing of Bing Crosby from the Merrie Melodies short, “Hollywood Steps Out.” Accomplished in graphite and colored pencil, with a character image size of 7" x 5.75" on 9.5” x 12” animation paper, the drawing is in very good condition with light creasing, edge wear, pinholes, and light discoloration from age. The drawing is stamped with “Courtesy of the Bob Clampett Collection” along the top middle edge.

(Schlesinger, 1941) A production drawing and model drawing of Greta Garbo from the Merrie Melodies short, “Hollywood Steps Out.” Accomplished in graphite and colored pencil both drawings measure 9.5” x 12” with character image sizes of 7.5” x 5” and 5.25” x 4.25” respectively. The drawings are in good condition, stamped with “Courtesy of the Bob Clampett Collection,” with light creasing, edge wear, pinholes from production use, and light discoloration from age.

(Schlesinger, 1941) An original model drawing of Mickey Rooney and Lewis Stone paired with a production drawing of Jerry Colonna from the Merrie Melodies short, “Hollywood Steps Out.” The production drawing of Colonna was also used as a color model. Accomplished in graphite and colored pencil, with character image sizes of 6.25” x 9.75” and 5.5” x 6.75” respectively on 9.5” x 12.5” animation paper, the drawings are in very good production-used condition with light creasing, edge wear, and light discoloration from age. Both drawings are stamped with “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1941) An original production drawing of James Cagney, Humphrey Bogart, and George Raft from the Merrie Melodies short “Hollywood Steps Out.” Accomplished in graphite and colored pencil, with a 6” x 12” character image size on 9.5” x 12” animation paper, the drawing is in very good condition with light creasing and edge wear from production use and light discoloration from age.

(Schlesinger, 1941) A model drawing of The Three Stooges from the Merrie Melodies short, “Hollywood Steps Out.” Accomplished in graphite and colored pencil, with a character image size of 6.5” x 10.75” on 9.5” x 12” animation paper, the drawing is in good condition with a horizontal fold along the top quarter, light creasing, edge wear, pinholes from production use, and light discoloration from age.

(Schlesinger, 1941) Three model drawings from the Merrie Melodies short, “Hollywood Steps Out.” Included are two drawings featuring Henry Fonda with an image size of 6.5” x 7” and one drawing featuring Jimmy Stewart and Dorothy Lamour with an image size of 7.5” x 9.5”. Accomplished in graphite and colored pencil on 9.5” x 12” animation paper, the drawings are in good condition production-used condition with light creasing, edge wear, pinholes, tape residue to the bottom right corners of both Fonda drawings, and light discoloration from age. Two drawings are stamped with “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1941) Three model drawings of Edward G. Robinson, James Cagney, and Joe Penner from the Merrie Melodies short, “Hollywood Steps Out.” The scene planned with Joe Penner was not produced because he died during the short's production, and it was deemed inappropriate to include it. With character image sizes from 4.75” x 4” to 6.5” x 4.5” on 9.5” x 12” animation paper, the graphite and colored pencil drawings are in good condition with light creasing, edge wear, pinholes from production use, and a 0.5” x 0.25” area of tape residue on the Robinson drawing, and light discoloration from age.

(Schlesinger, 1941) A collection of four celebrity caricature model drawings of Peter Lorre, Johnny Weissmuller, and Paulette Goddard from the Merrie Melodies short, “Hollywood Steps Out.” Accomplished in graphite and colored pencil, with image sizes ranging from 6” x 2.25” to 7.25” x 4.25” on 9.5” x 12.5” animation paper, the drawings are in very good production-used condition with light creasing, edge wear, pinholes, and light discoloration from age. Each drawing is stamped with “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1937) A model sheet of a quail from the Merrie Melodies short “The Crackpot Quail.” Bob Clampett created the character and named the bird "Quentin Quail" on the reverse, though this name was not used in the production. This character is considered a predecessor to Tweety. With character image sizes ranging from 2.75” x 4.75” to 2.5” x 5.25” on 7.5” x 13” artist’s board, the graphite and colored pencil art is in good condition with creases, edge wear, and stains from production use, and stamped “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1937) An early development drawing for Quentin Quail, a precursor to Bob Clampett’s Tweety Bird. Measuring 9.5” x 12”, the graphite drawing is in very good condition with light edge wear and creasing from production use and light discoloration from age.

(Schlesinger, 1937) A character development drawing of Quentin Quail. Measuring 9.5” x 12”, the drawing is in good condition with edge wear, a horizontal crease 1.5” from the top edge running the length of the paper, and light discoloration from age.

(Schlesinger, 1937) An early character development drawing of Quentin Quail Although this design was not used, the character would be revisited several years later and slightly modified to become one of animation’s biggest stars: Tweety. With a character image size of 6” x 10” on 9.5” x 12” animation paper, the graphite drawing is in good condition with edge wear and creasing from production use, a horizontal crease running the width of the paper diagonally from the top, an oxidization stain from a paperclip in the upper left corner, a 0.25” stan on the right edge, and light discoloration from age.

(Schlesinger, 1942) An original photostat model sheet for the Merrie Melodies cartoon “A Tale of Two Kitties.” This cartoon features the first appearance of Tweety Bird, here named “Orson.” The original title “Babbit & Catstello” references comedy team Abbott and Costello, the inspirations for the characters, with the sheet including their portraits. Measuring 11.5” x 14.5”, the photostat model sheet is in fair production-used condition, with pinholes, edge wear including a 1” tear to the left side, and streaks of grey discoloration overall.

(Warner Bros., 1947) The original cel overlay for the title card of the Merrie Melodies short “Tweetie Pie.” This short marked the first time Tweety was paired with his antagonist, Sylvester, forming one of the most enduring comedy duos in animation history. The title was later changed to the Blue Ribbon series card, with this original piece rarely seen. With a character image size of 2.25” x 2” on a 10” x 12” cel, the piece is in fair condition with areas of paint lifting and loss to the back of Tweety’s head and neck, and pinholes to the top corners and left side which do not affect the image.

(Schlesinger, 1944) The complete 85-panel storyboard to the Merrie Melodies short “Birdy and the Beast,” directed by Bob Clampett. The second short starring Tweety Bird showcases a redesign of the character, making him rounder and cuter with exaggerated proportions for his head and eyes. Accomplished in graphite and colored pencil, each panel measures 4.5” x 6” and is in very good condition, stamped with “Courtesy of the Bob Clampett Collection,” with edge wear and corner pinholes from production use, and light discoloration from age.

(Schlesinger, 1944) The original artwork for the very first official Tweety model sheet from the Merrie Melodies short “Birdy and the Beast” directed by Bob Clampett. Originally an unnamed new-born and sickly-looking bird in his first appearance two years earlier, it was in this cartoon that Tweety received his name and a redesign establishing his look as the “cute wittow birdie” that today is regarded as one of the most recognized cartoon characters in the world. Accomplished in ink and colored pencil by animator Tom McKimson and measuring 12” x 18”, the model sheet, stamped “Courtesy of the Bob Clampett Collection” on the reverse, displays in good condition with light edge wear, creasing, and corner pin holes from production use, a 0.75” stain on the upper right edge which does not affect the image, a horizontal and vertical creases from being folded into quarters, and light discoloration from age.

(Schlesinger, 1944) An original title card concept drawing for the Merrie Melodies short “Birdy and the Beast,” directed by Bob Clampett. Accomplished in graphite, ink, and colored pencil, with a character image size of 6” x 11.25” on 9.5” x 12” animation paper, the drawing is in good condition with light edge wear and creasing from production use, a paperclip oxidization stain, and light discoloration from age.

(Schlesinger, 1944) An original title card concept drawing for the Merrie Melodies short “Birdy and the Beast,” directed by Bob Clampett. Although it was his second short film, this cartoon is significant for giving the previously unnamed bird the name “Tweety.” Measuring 9.5” x 12” overall, with three thumbnail sketches ranging from 1.75” x 2.25” to 4” x 5” the graphite and colored pencil drawing is in good condition with light edge wear and creasing from production use, sections of tape along the edges of the reverse, and light discoloration from age.

(Schlesinger, 1942) An original drawing for a publicity image of the Merrie Melodies short “A Tale of Two Kitties” directed by Bob Clampett. The cartoon, which was a parody of iconic comedy duo Abbot and Costello, marked the debut of Tweety. Much like the animated Warner Bros. superstars that preceded him, the unnamed bird who was intended to be a secondary character ended up stealing the show and going on to become one of the most celebrated cartoon characters of all time. The drawing is accomplished in graphite with a notation in orange grease pencil by Clampett, noting it as “My first Tweety cartoon.” measuring 9.5” x 12” the drawing is in good condition with light edge wear and creasing, smudging, a horizontal fold 0.5” down from the top edge which does not affect the image, and light discoloration from age.

(Schlesinger, 1945) A partial score for the brass and saxophone sections of “I Taut I Taw A Putty-Tat” sung by Tweety Bird in the Merrie Melodies short “A Gruesome Twosome,” directed by Bob Clampett. The single page is presented in a folder with a header hand-written by Clampett crediting himself and Carl Stalling as the writers. Measuring 14.75” x 10.25”, the score is in good condition with light edge wear, a horizontal fold across the center, and light discoloration from age. The 9.75” x 13” folder is in good condition with edge wear, corner creases, a 0.5” tear on the left edge, a 1” tear on the top edge, and discoloration from age.

(Warner Bros., 1953) Four storyboard panels from the Looney Tunes short “A Street Cat Named Sylvester.” Accomplished in graphite and colored pencil and measuring 5.75” x 7” each, the panels are in very good condition with light edge wear and pinholes from production use and light discoloration from age.

(Warner Bros., 1954) Three original storyboard panels featuring Tweety Bird and Sylvester from the Looney Tunes short “Satan’s Waitin’.” Accomplished in graphite and color pencils with a character image size of 3.75” x 5.75” on 7” x 5.75” paper, the panels are in very good condition with light edge wear and pinholes from production use and light discoloration from age.

(Warner Bros., 1956) An original storyboard panel featuring Tweety from the Looney Tunes short “Tweet and Sour.” Accomplished in graphite and color pencils with a character image size of 3.75” x 5.25” on 5.75” x 7” paper, the drawing is in very good condition with corner pinholes from production use and light discoloration from age.

(Clampett, 1970s) An original drawing of Tweety by Bob Clampett. Accomplished in graphite, ink, colored pencil, and marker, the drawing was later used to create a limited edition cel in 1986. Measuring 12.5” x 10.5” with a character image size of 8.5” x 4.5”, the drawing is in good condition with two light 0.25” tears along the top edge, pieces of tape ranging from 1” to 1.75” along the edges of the reverse side, and light discoloration from age.

(1980s-2000s) A brown and orange scarf featuring "Looney Tunes" stars Sylvester and Tweety. Measuring 7” x 45”, the scarf is in very good condition with light fraying and a crease above Sylvester’s head.

(Random House, 1940) A first edition of Horton Hatches the Egg book signed with a small drawing by Dr. Seuss. Seuss signed the book with a small egg sketch and personal inscription to Tommy Rettig who starred in his film “The 5,000 Fingers of Dr. T.” Rettig later gave the book to Bob Clampett, along with a personally signed headshot. The 8.5” x 10.5” book displays in good condition with pencil notations, discoloration from age, and heavy wear and tear on the dust jacket, notably to the spine, while the 8” x 10” signed photo is in good condition with creases, scratches, and wear.

(Schlesinger, 1942) Three production scripts for “Horton Hatches the Egg,” directed by Bob Clampett. Each draft includes handwritten notations by Clampett of dialogue changes and celebrity impersonations for certain lines. Sound effects and Horton’s “Hut Sut” song are listed on a single separate sheet. From four to six pages, the scripts and sound effect sheet all measure 8.5” x 11” and are in good production-used condition with expected handling wear.

(Schlesinger, 1941) A pair of model sheets of Mayzie from “Horton Hatches the Egg” directed by Bob Clampett. The two sheets are identical, with one signed by Bob Clampett in pencil that also includes an additional pose for Mayzie’s arm to one image. Each measuring 10.5” x 16.5”, the unsigned sheet is in good condition with wear typical of production use including pinholes at the corners, a vertical center fold, and handling wear. The signed sheet is in fair condition with the bottom corners torn, small tears around the edges, a center fold, and discoloration from age.

(Schlesinger, 1942) An original photostat model sheet from “Horton Hatches the Egg” of the hero elephant himself. Model sheets such as this were distributed to animators and crew working on the film to ensure character design continuity. This sheet includes poses for Horton, as well as notes on his attitude, and the style of the backgrounds. Measuring 12” x 15.5”, the model sheet is in very good condition with pinholes, handling wear, and pencil sketches on the back from production use; light spotting, and light discoloration from age.

(Schlesinger, 1942) An original production drawing from “Horton Hatches the Egg” of Horton on the nest. With an image size of 8.75” x 8.25” on 9.5” x 12” animation paper, the drawing accomplished in graphite is in very good condition with wear typical of production use including slight smudges and small creases to the edges, and discoloration along the bottom edge from age. The back includes a rough sketch of a fish.

(Schlesinger, 1942) The original title cel and background from “Horton Hatches the Egg.” The title card was later changed to the Blue Ribbon series card, with this original cel and background virtually unseen. The 10” x 12.25” cel and 10” x 13” background are in very good condition with corner pinholes and tape on the edge from production use and very light paint loss to small areas of the letter.

(Schlesinger, 1942) The original opening credits cel and background from “Horton Hatches the Egg,” directed by Bob Clampett and adapted from Dr. Seuss. Since the titles were changed to the Blue Ribbon series card, the original cel and background have rarely been seen. Both pieces are trimmed to 8” x 10” and are in very good condition with light paint loss to small areas of the letters.

(Schlesinger, 1942) A multi-layer cel and multi-layer background of Horton, a barker, and a crowd from “Horton Hatches the Egg.” With image sizes ranging from 2” x 2.75” to 4” x 5.25”, the cels display in good condition with paint loss, scratches, wear, and pinholes from production use, while the backgrounds range in size from 8.5” x 12” to 9” x 12” and display in very good condition with light creases, scuffs, pinholes, tape from production use, and the crowd cutouts loose on the left side and center.

(Schlesinger, 1942) An original hand-painted production cel of Mayzie and a background from “Horton Hatches the Egg.” With an image size of 5.75” x 8.75” on a 10” x 12.5” cel and a 10” x 14” background, the piece displays in good to very good condition with paint loss and lifting and scratches to the cel, and light stains, spots of discoloration, edge wear, and pinholes to the background from production use. The background is stamped with “Courtesy of the Bob Clampett Collection.”

(Schlesinger, 1942) An original hand-painted production cel of Horton and a background from the Merrie Melodies short “Horton Hatches the Egg.” With an image size of 5.75” x 5.75” on an 8.75” x 11.5” cel, Horton is in good condition with scratches and light spots of paint loss, while the 9.5” x 11” hand-painted heavy paper background, stamped "Courtesy of the Bob Clampett Collection” on the reverse, is in very good condition with light scuffs and stains, both sporting pinholes from production use.

(Schlesinger, 1942) An original hand-painted production cel of Horton and a background from “Horton Hatches the Egg.” Measuring 5.5” x 5.5” on a 10" x 12.5" cel, Horton is in good condition with paint loss, scratches, and wear, while the 10.25” x 12.5” hand-painted background, stamped “Courtesy of the Bob Clampett Collection,” displays in very good condition with spots of discoloration, edge wear including a 0.25” burn on the right side, and pinholes from production use.

(Schlesinger, 1942) A multi-layer cel of a seasick Horton from the Merrie Melodies short “Horton Hatches the Egg,” directed by Bob Clampett. With image sizes ranging from 4.75” x 6.75” to 5.5” x 8” on 8” x 10” trimmed cels, the piece is in fair to good condition with paint loss, scratches, wear, and pinholes from production use.

(Schlesinger, 1942) A pair of cels of the flying baby elephant and a production background from “Horton Hatches the Egg.” With image sizes from 2.25” x 2.75” to 2.5” x 2.75” on trimmed cels from 7.25” x 8” to 10” x 10.25”, the elephants are in good condition with paint loss, cracking, scratches, and wear, while the trimmed 9” x 10.75” background, stamped “Courtesy of the Bob Clampett Collection,” is in very good condition with light scratches, scuffs, edge wear, and pinholes from production use.

(Schlesinger, 1942) A multi-layer cel of Horton from the Merrie Melodies short “Horton Hatches the Egg.” With an image size from 2.25” x 3.25” to 8.25” x 11.75” on three 10” x 12.5” cel layers, the piece is in fair condition with paint loss, paint lifting, scratches, wear, warping, and pinholes from production use.

(Schlesinger, 1942) A colorful multi-layer cel of animals laughing at Horton from “Horton Hatches the Egg.” With image sizes ranging from 4.25” x 4.5” to 8.5” x 11.5” on four 10” x 12.5” cels, the piece is in fair to good condition with paint loss, paint lifting, edge wear, stains, scratches, and pinholes from production use.

(Schlesinger, 1942) An original hand-painted production cel of Mayzie from “Horton Hatches the Egg.” With an image size of 8.75” x 10.5” on a 10” x 12.5” cel, the piece displays in fair condition with heavy paint loss, paint lifting, scratches, wear, and pinholes from production use.

(Schlesinger, 1942) An original hand-painted production cel of Horton from the Merrie Melodies short “Horton Hatches the Egg.” With an image size of 6.5” x 6.5” on a 10” x 12.5” cel, the piece is in poor condition with heavy paint loss throughout, scratches, cracks, and wear from production use.

(Schlesinger, 1942) An original hand-painted production cel of a trio of hunters from the Merrie Melodies short “Horton Hatches the Egg.” With an image size of 3.5” x 5.5” on a 10” x 12.5” cel, the piece displays in good condition with paint loss, scratches, wear, and pinholes from production use.

(Schlesinger, 1942) An original hand-painted multi-layer cel of three Hunters from the Merrie Melodies short “Horton Hatches the Egg.” With image sizes from 3.5” x 3.5” to 7.25” x 11.5” on 10” x 12.5” cels, the piece is in poor to good condition with heavy paint loss, chipping, scratches, wear, and pinholes from production use.

(Schlesinger, 1930s-40s) A photograph of the Leon Schlesinger Animation Studio, located at 1351 Van Ness Ave in Hollywood. Measuring 8” x 10”, the glossy photo is in very good condition with a light crease in the upper left corner.

(Schlesinger, 1939) A collection of nine production drawings from the Merrie Melodies short “The Little Lion Hunter,” starring Inki and The Minah Bird. Accomplished in graphite and colored pencil with an image size of 4.5” x 6”, on 9.5” x 12” animation paper, the drawings are in good to very good condition with light edge wear and creasing, light discoloration from age, and one with a diagonal fold at the top running the width of the paper.

(Schlesinger, 1939) A collection of six production drawings from the Merrie Melodies short “The Little Lion Hunter,” starring Inki and The Minah Bird. Accomplished in graphite and colored pencil with an image size of 4.5” x 6” on 9.5” x 12” animation paper, the drawings are in very good condition with light edge wear and creasing, and light discoloration from age.

(Schlesinger, 1939) A collection of seven production drawings from the Merrie Melodies short “The Little Lion Hunter,” starring Inki and The Minah Bird. Accomplished in graphite and colored pencil with an image size of 4.5” x 6” on 9.5” x 12” animation paper, the drawings are in very good condition with light edge wear and creasing, and light discoloration from age.

(Clampett, 1940-50s) A collection of stationery and business cards from four of Bob Clampett’s offices after he left Leon Schlesinger Productions. Included are four business cards, two of which fold open to reveal Clampett’s original characters, four pages of stationery, and one envelope. Ranging in size from 2” x 3.5” to the 8.5” x 11” stationery, the items are in good to fine condition with creasing, stains, and discoloration from age and light graphite marks.

(Clampett, 1940s) A page of graphite drawings by Bob Clampett of Hamlet and Jigger, “The Dumbest Hossfly in the Movies.” Clampett inscribed in colored pencil that Jigger was an early concept that would develop into the Blunderhead and Charlie Horse characters. Measuring 9.5” x 12”, the drawing is in good condition with creases, folds, and wear.

(Clampett, 1946) A character model sheet of Bob Clampett’s Charlie Horse, star of “It’s a Grand Old Nag.” Model sheets such as this were distributed to animators and crew working on the film to ensure character design continuity. Measuring 11” x 14”, the model sheet is in good condition with light wear, creases, and a full vertical fold down the center from production use.

(Clampett, 1946) A character model sheet of Hay-dy La Mare, the female lead and love interest of Charlie Horse of Bob Clampett’s sole Republic short, “It’s a Grand Old Nag.” Model sheets such as this were distributed to animators and crew working on the film to ensure character design continuity. Measuring 11” x 14”, the model sheet is in very good condition with light creases.

(Republic, 1960s-80s) A graphite drawing and hand-painted non-production cel of Charlie Horse, the star of the Republic short “It’s a Grand Old Nag.” With character images of 3” x 3.5” each on 4.75” x 7” animation paper and a 5” x 7” trimmed cel, both adhered to 10” x 12” backing paper, the piece is in good to very good condition with scratches, spots of paint loss, wear, and tears at the top corners of the drawing and backing paper from display.

(Clampett, 1947) A large collection of 61 storyboards for the Bob Clampett-directed film “It’s a Grand Old Nag.” The short featured Charlie Horse, a Hollywood extra, who saves the day and wins the heart of his famous crush, Hay-dy La Mare. This was Clampett’s first film with Republic Pictures and his last, as the Studio decided to shift away from animation because of issues with their ability to secure color processing. Measuring 6” x 8” each, the storyboards are in good to very good condition with light creases, edge wear and tears, and pinholes from production use.

(Clampett, 1950s) A concept art presentation for a proposed animated project starring Harold Lloyd. Bob Clampett and Harold Lloyd, who were personal friends, worked together to develop an idea for a series in which a cartoon version of Lloyd would be animated into his original silent comedies. The two shopped the idea around Hollywood, but it was never picked up and the project was ultimately abandoned. This concept art is the only known record of the unproduced project to exist. Measuring 10.25” x 12.25” with a character image size of 1.75” x 1.25”, the cel is overlaid on an 8” x 10” glossy photo which has been mounted to an 11” x 14” piece of matte board and is in fine condition.

(Clampett, 1930s-60s) A one-of-a-kind stop-motion puppet of Charlie McCarthy, paired with a walk cycle photo. The puppet with a metal interior armature and composition head, was used by Bob Clampett for a walk cycle test at his first studio in the late 1930s, with the accompanying photo capturing a moment from the test. Measuring 5.5” x 6.5” x 19” tall, the armature puppet is in good poseable condition with stains, paint loss, wear, oxidation to the metal from age, and heavy crazing to the head. The 3.5” x 4.5” photo is in good condition with scratches and inscription marks from the reverse visible on the front.

(Clampett, 1940s-50s) An original "Time for Beany" title card painting, from a time in the series with no surviving episodes. Title cards likely changed many times throughout the roughly 1500-episode run of the series. This one is an excellent portrait of series stars Beany and Cecil aboard the Leakin' Lena. Accomplished in acrylic paint on cardboard and measuring 19” x 21”, the title card is in good condition with edge wear, a 2.5” crease in the upper left corner, and water stains, tears, and peeling along the right side.

(Clampett, 1949-50s) Three photo prints of Bob Clampett puppeteering Cecil the Seasick Sea Serpent. The photos are marked with grease pencil to crop to just the reflection of Bob with the puppet. Each measuring 4” x 5”, the marked contact prints are in very good condition with light wear from production use.

(Clampett, 1950) A “Time for Beany” scrapbook compiled by the show’s creator Bob Clampett. Clippings cover early mentions of the show in newspapers and trades, both large and small, marking the specific section in red grease pencil. Inserts include a Thrifty Drugstore Beany flyer with a coupon, and three “Willy the Wolf” flyers. Also included is a fantastic 10” x 13” Cecil the Sick Sea Serpent drawing accomplished in oil pastels and ink. Measuring 11.75” x 16”, the scrapbook is in good condition with most clippings loose from the pages, creases, glue residue, wear, stains, and discoloration from age.

(Clampett, 1953-54) A custom hard-cover book with 55 of Bob Clampett’s personal, production-used scripts for “Time for Beany,” from December 1953 through February 1954. Each mimeograph script has been signed in graphite by Clampett and contains handwritten notations from production. Measuring 14.25” x 9” x 1.25” thick, the book is in very good condition with shelf wear and light stains to the edges of the pages.

(Clampett, 1950) A behind-the-scenes photograph taken during the filming of “Time for Beany” for Life magazine. Pictured is Stan Freberg puppeteering Cecil drinking from a can while writer Charlie Shows adds a splashing effect with a seltzer bottle. The 8” x 10” photo is in very good condition.

(Clampett, 1950) A photograph taken during the filming of “Time for Beany” for Life Magazine. Pictured are several members of the staff, including writers Charles Shows and Lloyd Turner, watching the puppets Cecil, Beany, and Captain Huffenpuff performing. Measuring 8” x 10”, the photo is in very good condition.

(Clampett, 1950s) A photograph taken backstage at “Time For Beany,” featuring puppeteer Joan Gardner, who performed Beany’s girlfriend, Susie, and all the other female characters. Gardner would continue to work with Bob Clampett throughout her career on projects including “Buffalo Billy,” “Flyboy,” and the animated “Beany and Cecil.” Measuring 8” x 10” the photo is in very good condition.

(Chesterfield, 1952) A script page from the February 13, 1952 episode of “The Bing Crosby Show for Chesterfield” signed by Bing Crosby. The radio program's script features Hollywood legends Humphrey Bogart and Bing Crosby in a skit where Bogart refers to his wife's obsession with Crosby's music as "Time for Bingsy." Crosby signed the page in blue marker with a personalized inscription to Bob Clampett, the creator of “Time for Beany.” Measuring 8.5” x 11”, the script page is in good condition with creases, folds, and discoloration from age.

(Clampett, 1960s-80s) A display of Bob Clampett with his characters Beany and Cecil, the puppet stars of “Time for Beany.” Measuring 35.5” x 36.75”, the display is in fair condition with stains, edge wear, scratches, and water damage on the reverse.

(Clampett, 1949-55) A screen-used “Time for Beany” Cecil the Sea Sick Sea Serpent puppet. Cecil was voiced and puppeteered by Stan Freberg in his first television role. Freberg would go on to have an award-winning career in television, radio, film, and recording that spanned seven decades. Constructed of terry cloth, rubber, felt, plastic, foam, and cardboard, this particular Cecil features a black fin as opposed to his traditionally purple fin. Measuring 9.5” x 5” and 24.5” tall, the puppet displays in good condition with rubber and paint cracking to the nostrils, soiling from production use, and light discoloration from age.

(Clampett, 1949-55) A screen-used Beany Puppet from “Time for Beany.” Beany was performed by voice acting legend, Daws Butler in his very first television role. Butler would go on to voice over 50 of the most well-known cartoon characters including Barney Rubble, Yogi Bear, Elroy Jetson, and Cap’n Crunch. Constructed of rubber, yarn, felt, corduroy, cloth, cotton, and metal and measuring 10” x 3.5” and 17.5” tall, Beany displays in very good condition with two small areas of adhesive residue on the front overalls, light soiling, plasticization on the hands, cracking on the right back button, and light paint wear on the cap propeller.

(Clampett, 1949-55) A screen-used Captain Huffenpuff puppet from “Time for Beany.” Huffenpuff, Captain of “The Leakin’ Lena” and Beany’s bumbling, but good-hearted uncle, was performed by voice acting legend, Daws Butler. Constructed of Rubber, cloth, leather, suede, metal, cotton, and felt and measuring 6.5” x 4” and 16” tall, Huffenpuff displays in very good condition with two light paint stains on the top fold of the collar from the character’s beard, a spot of paint loss on the nose, light wear on the suede hands, light soiling and plasticization to the head.

(Clampett, 1949-1955) A screen-used puppet of Clowny from “Time for Beany.” Many secondary character puppets for the series were made by Maurice Siederman, who included his signature sculpted into their necks. Before “Time for Beany,” Seiderman was the head of the RKO makeup department, where he worked on numerous films such as “Journey into Fear,” “The Hunchback of Notre Dame,” and most famously, “Citizen Kane.” Measuring 21.5” tall, the rubber and plastic puppet displays in very good condition with paint loss, light wear, plasticization, and stains from production use.

(Clampett, 1949-55) A screen-used puppet of Dishonest John from “Time for Beany.” Dishonest John was inspired by Larry Martin, Bob Clampett’s former boss at Warner Brothers. Clampett would create caricatures of Martin, depicting him as an 1890s melodrama villain, which he labeled “Dirty Dalton.” Martin later collaborated with Clampett again on the animated series Beany and Cecil. When Martin inquired about the design of Dishonest John, Bob told him to look in a mirror. Constructed of a compound head, felt, doll hair, satin, cotton, and wire and measuring 6.75” x 3.25” and 15.75” tall, Dishonest John displays in good condition with light discoloration and stains to the body, soiling, and repairs on the left ear and nose with traces of adhesive residue.

(Clampett, 1949-55) A screen-used puppet of Hunny Bear from “Time for Beany.” Many secondary character puppets for the series were made by Maurice Siederman, who included his company’s signature “Lastic Plastics,” sculpted into their necks. Constructed of rubber, terrycloth, cotton, and wire and measuring 8" x 3.5" and 15" tall, the puppet displays in fair condition with heavy plasticization stickiness to the head from age and soiling throughout.

(Clampett, 1949-55) The Leakin’ Lena from “Time for Beany.” This ramshackle, not-quite-seaworthy vessel took Beany, Cecil, and Captain Horatio K. Huffenpuff on adventures across the seven seas, to mysterious and exotic lands, and beyond. The boat was built without a top or bottom and was mounted in place so the puppeteers could reach their arms through the bottom to portray the characters standing “on deck.” Constructed of wood, canvas, metal, rope, and wire and measuring 25” x 11.5” x 36.5” tall with a 24” mounting brace that brings the total height to 51.5”, the boat displays in good condition with chips, scuffs, scratches, stains from production use, multiple dents from production used clamps on the mounting brace, light splintering to the bow and bottom edges, and light discoloration from age.

(Clampett, 1949-55) An original “Time for Beany” screen-used Cecil puppet with tired eyes constructed of paper. Due to the low budget and fast production nature of the show, alterations to puppets to fit certain scenes had to be made quickly and cheaply. Constructed of terry cloth, rubber, felt, plastic, foam, and cardboard and measuring 8.5” x 5” and 27.5” tall, the puppet displays in good condition with rubber and paint cracking to the nostrils, soiling from production use, creases and folds to the eyelashes of the paper eyes, and light discoloration from age.

(Clampett, 1949-55) A screen-used puppet of Cecil the Sea Sick Sea Serpent from “Time for Beany.” Throughout the series, Cecil was voiced and puppeteered by Stan Freberg, who is recognized as one of the greatest voice actors and satirists of American culture during television’s first Golden Age. Constructed of terry cloth, rubber, felt, plastic, foam, and cardboard and measuring 8.5” x 5” and 24.5” tall, the puppet is in good condition with rubber and paint cracking to the nostrils, pinholes to the fin, light soiling from production use, and light discoloration from age.

(Clampett, 1949-1955) A screen-used “Time for Beany” puppet of Cecil after an explosion. Throughout the show's seven-year run, it was common for a puppet to be uniquely modified for specific scenes. This “charred” Cecil puppet, showing some original green fabric, was painted black to appear as if it survived an explosion and is covered in soot. Constructed of terry cloth, rubber, felt, plastic, foam, and cardboard and measuring 27” x 9.5” x 5” deep, the puppet displays is in good condition with a 1” seam split on the left side, soiling from production use, and discoloration from age.

(Clampett, 1950) An original drawing used in the production of “Time for Beany” to create the sculpt for the head of the Beany puppet. Accomplished in graphite and colored pencil on illustration board, the drawing is in good condition with edge wear, smudging, and light discoloration from age.

(Clampett, 1949-55) An original, production-used Beany wax sculpt used to create the rubber head of the puppet in “Time for Beany.” The sculpture is attributed to the show’s art director, Bill Oberlin and marked with a Bob Clampett copyright on the back. Measuring 4.75” x 3.75” x 3.5” deep, the head is mounted to a 6” x 7” x 0.5” wooden base and displays in very good, production-used condition with chips, wax residue, and wear to the base.

(Clampett, 1949-55) An original, production-used Capt Huffenpuff wax sculpt used to create the rubber head of the puppet in “Time for Beany.” The sculpture is marked with a Bob Clampett copyright on the back and its creation is attributed to Bill Oberlin who also created the famous “Rocky and Bullwinkle” statue on Sunset Blvd in Hollywood. Measuring 6.25” x 3.5” x 3.75” deep, the head displays in very good, production-used condition and has been mounted to a wooden base which measures 5” x 6.5” x 0.5” tall and displays in good, production-used condition with chips, wax residue, wear from production use.

(Clampett, 1949-55) An original, production-used Dishonest John wax sculpt used to create the rubber head of the puppet in “Time for Beany.” The sculpture is marked with a Bob Clampett copyright on the back and its creation is attributed to Bill Oberlin who would go on to collaborate with Clampett on his future project, “Thunderbolt the Wondercolt.” Measuring 5.25” x 3.5” x 3” deep, the head displays in very good, production-used condition and has been mounted to a wooden base which measures 5.25” x 7.25” x 0.5” tall and displays in good, production-used condition with chips, wax residue, wear from production use.

(Clampett, 1950s) A plaster cast of a puppeteer's arm, etched with “The Golden Arm” by Bob Clampett along with his name and a copyright symbol. Almost certainly cast from either “Time for Beany” creator Clampett or performer/actor Stan Freberg, the hand is posed in the perfect position to emotively display a Cecil puppet. Measuring 8” x 4.25” x 22.5” tall atop a 17” x 11 wooden base, the arm displays in fair condition with soiling, scratches, scuffs, and wear throughout, including a 1.25” section of the index finger missing.

(Chemi-Plastic, 1949-55) A master head sculpture of Beany from “Time for Beany.” The rubber heads from this master were used to make Beany puppets for retail sale. Measuring 4.75” x 3.75” and 3.5” deep, the polymer clay head displays in very good production-used condition with casting residue and stains. The head is mounted to a 6” x 7” x 0.5” tall wooden base in good production-used condition with chips, clay residue, stains, and wear.

(Clampett, 1950s) A “Time for Beany” simultaneous head turn device. This tool was used to move multiple puppets’ heads at once during production of the groundbreaking children’s television series. The wooden tool’s handle and turn mechanisms worked when tested. Measuring 18.25” 4.25” x 14” tall, the device is in good condition with scuffs, scratches, residue, and wear from production use.

(Clampett, 1949-55) A production-used Cecilia puppet from Bob Clampett’s “Time for Beany.” The she-serpent was Cecil’s girlfriend on the show, and their relationship continued in the animated series “Beany and Cecil.” Measuring 21” tall, the terrycloth puppet displays in good condition with heavy pilling throughout, paint loss, stains, and discoloration from age.

(Clampett, 1954) A Sliver the Rocking Horse puppet from Bob Clampett’s “Buffalo Billy.” Measuring 17.5” x 6” x 21” tall, the mixed-media terrycloth puppet displays in good condition with stains, soiling, discoloration from age, and wear from production use.

(Clampett, 1957) A Cupcake the Ostrich puppet from the pilot for a proposed series called “Twig” which was developed by Bob Clampett and “My Three Sons” creator Don Fedderson. In the pilot, Cupcake was voiced and operated by voice acting legend Don Messick, who is best known for his roles as Papa Smurf, Boo Boo, and Scooby Doo among dozens more. Constructed of terry cloth, cotton, foam, wire, clay, tape and measuring 18” x 7.5” x 9 deep, the puppet is in good condition with a 1” tear at the back of the neck, pilling, light soiling, wear, and stains from production use, and light discoloration from age.

(Clampett, 1949-55) A frog puppet from “Time for Beany.” Constructed of terrycloth, cotton, linen, wire, and clay and measuring 13” x 5.5” x 4.75 deep, the puppet is in good condition with a small 0.25” hole at the seam in the back of the head, light soiling, and wear from production use and light discoloration from age. The puppet was also used for an episode of the “That Girl” TV series with Marlo Thomas.

(Clampett, 1949-55) A platypus puppet from “Time for Beany.” Constructed of terrycloth, cotton, foam, wire, and clay, and measuring 17” x 6” x 19 deep, the puppet is in good condition with pilling, a 0.25” hole under the jaw, four small 0.25” holes near the base, light soiling, wear, and stains from production use, and light discoloration from age.

(Clampett, 1952) An original, screen-used Speedy the Turtle puppet from Bob Clampett’s “Thunderbolt the Wondercolt.” Constructed of terry cloth, cotton, canvas, paper mache, and measuring 16.5” x 6” x 6.5” deep, the puppet is in good condition with light soiling and wear from production use and light discoloration from age.

(Clampett, 1952) A glamorous “Thunderbolt the Wondercolt” Zippi horse puppet wearing purple bejeweled glasses and a yellow racing outfit that covers its felt body. Measuring 18” x 5.5” x 185” tall, the mixed-media puppet is in good condition with stains, pilling, separation on the glasses, the "Z" adhesive missing from her name, and wear from production use.

(Clampett, 1952) A production-used Zack horse puppet from Bob Clampett’s“Thunderbolt the Wondercolt.” Measuring 22” x 6” x 16.5” tall, the mixed-media puppet is in good condition with stains, cracks in the eyes, pinholes, material loss, wear from production use, and its effects hose cut.

(Clampett, 1949-55) A “Time for Beany” production-used horse hand puppet. With its prominent teeth, the puppet invokes a style similar to Bob Clampett’s other creations Thunderbolt the Wonder Colt and Charlie Horse. Measuring 24” tall, the terrycloth puppet is in good condition with discoloration from age, soiling, and wear from production use.

(Clampett, 1959) An original hand puppet of Snorky, a prehistoric creature created by Bob Clampett. Clampett intended for Snorky to star in his own series developed by Clampett called “Beeper and his Guided Muscle” but the show never found a buyer. However, the character later appeared in animated form in the final episode of "Beany and Cecil," where his backstory is narrated through a song. Measuring 21” tall, the terrycloth mixed-media puppet displays in very good condition with light soiling pilling, discoloration from age, and wear from use.

(Clampett, 1954) A production-used hand puppet of a woman in a flower dress and hat from “Buffalo Billy.” Measuring 22” tall, the puppet is in good condition with light discoloration from age, stains, glue residue, and wear from production use.

(Clampett, 1959) A fox puppet named 20th Century Fox used in test footage of “Beeper and his Guided Muscle,” a proposed series developed by Bob Clampett. An avid pun enthusiast, Bob Clampett could not resist this cheeky naming opportunity. The terrycloth puppet wears a satin outfit and is adorned with plastic jewelry. Measuring 14” x 14” x 33” tall, the mixed-media puppet is in good condition with paint loss, stains, light tears, and wear from production use.

(Clampett, 1959) A fancy cat puppet wearing a red dress with her paws in a leopard-print muff used in test footage of “Beeper and his Guided Muscle,” a proposed series developed by Bob Clampett. Measuring 19.75” tall, the mixed-media puppet is in good condition with fraying, discoloration from age, stains, and wear from production use.

(Clampett, 1949-55) A production-used spotted cat puppet from Bob Clampett’s “Time for Beany.” Measuring 14” tall, the mixed-media puppet is in fair condition with soiling, paint loss, fraying, discoloration from age, stains, and wear from production use.

(Clampett, 1949-55) A “Time for Beany” production-used puppet of a black panther beatnik in a pink beret, leopard-print collar, and bowtie. Measuring 22” x 7” x 17” tall, the mixed-media puppet is in good condition with paint loss, scuffs, light tears, stains, discoloration from age, and wear from production use.

(Clampett, 1954) A pair of concept drawings of “Time for Beany”-themed floats for the Pasadena Rose Parade. Accomplished in graphite, colored pencil, and colored markers on vellum measuring 12.5” x 18.5” to 18.75” x 23.5”, the drawings are in good condition stapled to 19” x 25” backing paper, with creases, corner folds, stains edge tears up to 1”, and discoloration from age.

(Clampett, 1952) A publicity photo of Bob Clampett, Shirley Tegge, Lloyd Nolan, and Beany and Cecil taken during production of “M.L Gunzburg presents 3D,” a short film produced by Clampett. The short was screened preceding “Bwana Devil,” the first full-length 3D color film, and featured the “Time for Beany” stars instructing audiences on how to use 3D glasses. Measuring 8” x 10”, the photo is in very good condition.

(Clampett, 1949-54) A “Time For Beany” promotional photo of Beany and friends enjoying a glass of milk from Hage’s, a San Diego dairy. Measuring 8” x 10”, the photo is in very good condition with light edge wear.

(Clampett, 1949-54) A “Time For Beany” promotional photo of Beany and friends with products from Hage’s dairy in San Diego. Measuring 8” x 10”, the photo is in very good condition with light edge wear.

(Clampett, 1950s) A promotional photo for Hood’s Ice Cream featuring Beany and Cecil. Measuring 8” x 10.5”, the photo is in good condition with surface scratches, edge wear, and corner creases.

(R. C. Cola, 1940s-50s) A Dishonest John and Capt. Huffenpuff R. C. Cola fan card with broadcast information for “Time for Beany” on the reverse. Measuring 5.5” x 3” the card is in fine condition.

(Clampett, 1940s-50s) A black and white publicity photograph from “Time for Beany,” featuring Beany, Cecil, Captain Huffenpuff, Wong, Hunny Bear, and The Terrible Two-Headed Freep. The series of episodes featuring the search and discovery of the Freep lasted from February 1949 through the summer of 1949 and became a national sensation. Measuring 7.25” x 9” and presented in a 19.75” x 15.75 matte, the photo is in very good condition with a small stain to the bottom of the matte.

(Clampett, 1949-55) A Prototype for a Beany Propeller cap for retail. Constructed of felt, metal, and plastic, the cap which measures 6” in diameter and 6” tall is in good condition with light soiling, discoloration, what appears to be remnants of a lower second propeller which has broken off, and a crack to the propeller which has been repaired with clear tape.

(Clampett, 1950s-60s) A handmade propeller hat prototype constructed of multi-colored fabrics, secured with string and clips, and topped with three plastic propellers painted red, white, and blue. Measuring 6.75” in diameter and 7” tall, the hat displays in good condition with fraying, wear, cracks in the propellers, tears, and discoloration from age.

(Clampett, 1950s) A Nehi Soda banner promoting “Time for Beany,” most likely displayed at grocery stores. The four-color screen printed on canvas banner has a metal grommet through each of the four corners and the top center. Measuring 44” x 57” the banner displays in very good condition with light stains throughout and thin spots of white paint within the “BE” of “BEANY.”

(Clampett, 1950s) A black and white Bob Clampett’s “Time for Beany” fan card featuring Beany, Cecil, Dishonest John, Hunny Bear, Hopalong Wong, and Capt. Huffenpuff. Measuring 8.5” x 11”, the fan card is in fine condition.

(Clampett, 1950s) A Bob Clampett’s “Beany and his Pals” fan card with Beany, Cecil, Capt. Huffenpuff, Clowny, Crowy, Hopalong Wong, Hunny Bear, and Dishonest John. This piece was printed incorrectly as the colors and lines are misaligned. Measuring 8.5” x 11”, the card is in fine condition.

(Clampett, 1950s) A fan card featuring Bob Clampett’s “Beany and his Pals” with Beany, Cecil, Capt. Huffenpuff, Clowny, Crowy, Hopalong Wong, Hunny Bear, and Dishonest John. This piece was printed incorrectly as the colors and lines are misaligned. Measuring 8.5” x 11”, the fan card is in fine condition.

(Clampett, 1950s) A fan card featuring Bob Clampett's “Beany and his Pals” with Beany, Cecil, Capt. Huffenpuff, Clowny, Crowy, Hopalong Wong, Hunny Bear, and Dishonest John. Measuring 8.5” x 11”, the card is in fine condition.

(Clampett, 1960s) A photograph of Ross Bagdasarian, the creator of Alvin and The Chipmunks, alongside Bob Clampett, who supplied Bagdasarian with puppets for an appearance on The Ed Sullivan Show. Standing behind Bagdasarian with the puppets are Clampett, Irv Shoemaker, and Jim MacGeorge. Measuring 8” x 9.75”, the photo is in good condition with edge wear, creasing, and color fading.

(Clampett, 1950s) A pair of “Time for Beany” pinback buttons featuring Beany and Dishonest John. Measuring 1.25” in diameter, the buttons display in fine condition.

(TV-Radio Life, 1952) A September 20-26, 1952 issue of TV-Radio Life magazine. Pages 36-37 feature a spread on Bob Clampett, Beany, and Cecil’s visit to the TV-Radio Life offices to learn about the printing process, with eight black and white photos of the staff having fun with the popular “Time for Beany” puppets. Measuring 8.25” x 10.75”, the issue is in very good condition with light creases, pinholes, wear, and discoloration from age.

(Kendig/Martin, 1957) A copy of “The ABC’s of TV” given to Bob Clampett by the co-author, Kathryn Dye Kendig. The book is an instructional manual on how to produce instructional and public service programming for television and has been inscribed to Clampett by Kendig on the front page. Measuring 11” x 8.5” x 0.5” thick, the book is in very good condition with wear and light discoloration from age.

(R.C. Cola, 1950s) A Clowny and Wong R. C. Cola fan card with broadcast information for “Time for Beany” on the reverse. Measuring 3.25” x 5.5”, the card is in very good condition with light creases, wear, and discoloration from age.

(Hage’s, 1950s) A collection of five Hage’s “Time for Beany” promotional postcards featuring the stars of the show, with airtimes and information on Hage’s ice cream. Measuring 5” x 7” each, the postcards are in very good condition with light creases, scratches, and wear.

(Clampett, 1950s) An oversized print of a publicity photo of Bob Clampett with his puppet creations including Beany and Cecil, Thunderbolt and Wondercolt, and Willy the Wolf. Measuring 19” x 15.25”, the print is in very good condition with light handling wear, and a 3” long thin line of tape residue at the top right corner from display.

(Beany’s, 1950s) A large collection of 158 unopened straws from Beany’s Drive-In, a “Time for Beany”-themed restaurant in Newport Beach. The straw wrappers feature the restaurant’s logo, Cecil, and the tagline “Sublime food at ridiculous prices.” Measuring 9.25” each in a 9.5” x 7” x 6” tall box, the straws and their wrappers are in very good to fine condition, while the box is in fair condition with heavy tears, creases, wear, and material loss.

(Merle’s Corp, 1950s-60s) A collection of 19 Beany’s Meals on Wheels paper coasters. Measuring 3” in diameter each, the coasters are in very good to fine condition with light wear and cracks.

(LIFE, 1950) A photograph of Cecil and Dr. Ubangi Jones from “Time for Beany,” taken for publication in Life Magazine by in-house photographer Allan Grant. The reverse of the photograph is stamped with the date, Life Magazine Photograph Department, and photographer credit. Measuring 12.75” x 10” the photo displays in very good condition with light edge wear from handling.

(Radio-Television Life, 1950) A May 19, 1950 Radio-Television Life magazine cover. Featured front and center on the separated cover is “Beanie,” listed as being “100% boy.” Measuring 8.25” x 11”, the cover is in very good condition with staple holes and edge wear from separation.

(Bell Brands, 1951) An extremely rare poster for Bell Brand potato chips featuring Beany and Cecil. Bell sponsored “Time for Beany” in 1951. Measuring 13.75” x 19”, the poster displays in very good condition with four horizontal fold lines and light edge wear.

(Tele-Views Magazine, 1952) A Tele-Views Magazine Annual Personality Poll award for Favorite Children’s Show, awarded to Bob Clampett for “Time for Beany” in 1952. Measuring 4” x 3” x 9.75” tall, the award is in good condition with scuffs, wear, oxidation, and a missing wing and wing tip.

(Academy of Television Arts and Sciences, 1954) A certificate from the Academy of Television Arts and Sciences in recognition of the nomination of “Time for Beany” for the Best Children’s Program of 1954. Measuring 9” x 7”, the certificate has been affixed to a plaque measuring 11” x 9” x 0.5” thick and is in fine condition.

(Paramount, 1954) A publicity photo for Danny Kaye’s “Knock on Wood.” The film features Kaye as a ventriloquist, so his dummy Clarence meeting the puppet stars of the immensely popular “Time For Beany” was a fitting pairing. Measuring 8” x 10”, the photo is in very good condition with light edge wear.

(Clampett, 1955) A unique cloth banner promoting an in-person appearance of Bob Clampett as the guest of honor at a kiddie matinee. The colorful banner features hand-stitched nylon letters on a silk front with a nylon back, braided fringe tassels, and metal grommets in the corners and along the borders of heavy-duty nylon. Measuring 28 feet long by 35” tall, the banner displays in good condition with light wear, fraying, and stains.

(Clampett, 1950) A photograph of Bob Clampett and the “Time for Beany” crew taken at the 2nd Emmy Awards after the series won the first award for Best Children’s Show. Pictured standing from left to right are Daws Butler, Donna Peterson, Stan Freberg, and Joan Gardner, and seated, Charles Shows, Bob Clampett, and Bill Oberlin. Measuring 8” x 10” the photo is in good condition with light edge wear, creases, and holes from staples along the left edge which do not affect the image.

(Clampett, 1950) A photo of Bob Clampett and the “Time for Beany” crew (all wearing Beany Hats) accepting the inaugural award for Best Children’s Show at the 2nd Emmy Awards. Pictured from left to right are Charles Shows, Bill Oberlin, John Jacobs, Stan Freberg, Daws Butler, and Clampett. Measuring 7.5” x 9.5”, the photo is in very good condition.

(Academy of Television Arts and Sciences, 1954) An Academy of Television Arts and Sciences Certificate in recognition of Bob Clampett’s “Thunderbolt” nominated for the Best Children’s Program of 1954. Measuring 9” x 7”, the certificate has been affixed to a plaque measuring 11” x 9” x 0.5” thick and is in fine condition.

(Clampett, 1950s) A photograph of Bob Clampett and the “Time for Beany” crew with their Golden Cecil Award, an in-house award created by Clampett. Pictured from left to right are Paul Sells, Clampett, Walker Edmiston, Daws Butler, Stan Freberg, Lloyd Turner, Irv Shoemaker, and Ralph Loretz. Measuring 8” x 10”, the photograph is in very good condition.

(Chemi-Plastic, 1949) A rare early Cecil hand puppet by Chemi-Plastic with “Copyright 1949 Bob Clampett” near the hand opening. Measuring 9” long and 3” in diameter, the vinyl hand puppet displays in good condition with light stains, wear, and discoloration from age, possibly painted brown by a previous owner.

(Fleischaker Novelty Co., 1950) A prototype puppet body for a retail Beany “Time for Beany” hand puppet sent to Bob Clampett for approval. The head was manufactured by a different company, Chemi-plastics. Measuring 8” x 10”, the body is constructed of denim, felt, doll hair, linen, and a plastic propeller, and is in very good, unused condition with two small 0.25” holes in the back of the beany cap and light discoloration from age.

(Jaymar, 1950s) A rare collection of four full-color test prints for a series of Jaymar “Time for Beany” tray puzzles. These uncut prints were likely sent to Bob Clampett for final approval before production. Measuring 10.5” x 13.75” each, the prints are in fair to good condition with edge wear and a trimmed 8” x 3.5” section to one.

(Jaymar, 1940s-50s) A collection of four, with one duplicate, “Time for Beany” jigsaw puzzles by Jaymar featuring Beany, Cecil, Wong, Captain Huffenpuff, Dishonest John, Clowny, and Crowy. Each 11” x 14” puzzle is complete and displays in very good condition with light wear and tearing around the edges, and light discoloration from age.

(1949-50s) A rare early “Beany and his Pals” coloring flip book. The spiral-bound booklet features six colorable pages of characters Beany and Cecil, Wong, Dishonest John, Clowny, Capt’n Huffenpuff, and Hunny Bear. Measuring 7” x 10.75” overall with 5” x 7” pages, the book is in very good condition, with a small crease to the cover, light handling wear, and half the perforations torn on the final “Hunny Bear” page.

(Zany Toys, 1950s) A “Time For Beany” hand puppet of Beany manufactured by Zany Toys. The puppet with a rubber head and fabric body measures 9” x 3.25” x 8.75” tall, and is in fair condition with plasticization and marks to the head, creases and discoloration to the tag, and the pupils of the googly eyes stuck in place.

(Roclar, 1950) A Beany & Cecil Bath Mitt & Soap set. Included are a Cecil bath mitt and multicolored sea-themed bars of soap. Measuring 4.25” x 1.5” x 10.25” long, the set is in good condition with wear, erosion to the soap, discoloration from age, and water damage on the bottom of the box.

(Alert Lamp Co. 1950s) A “Time for Beany” desk lamp with a figural ceramic Cecil and a lampshade featuring the show’s stars. With a 60w bulb (not included), the lamp functioned properly when tested. The shade measures 7" tall and 12" at its widest diameter, while the lamp measures 13.5" tall and 5.75" in diameter. Both pieces display in very good condition with areas of paint loss to the base and Cecil’s right fin, slight oxidation to the metal bulb clamp, and light discoloration to the shade from age.

(Glenway, 1950s) A Beany Bubble Bath set by Glenway. Included are eleven individually packaged bubble baths featuring the stars of the series. Measuring 7.5” x 1” x 9”, the box displays in very good condition with light scratches, creases, and water damage on the bottom, while the 2.25” x 4.5” packages are in very good condition with light wear and color bleed from water exposure.

(Clampett, 1950s) A rare pair of Beany and Cecil earrings gifted to the cast and crew of the original “Time for Beany” series. Measuring 1” x 1” each, the earrings are in very good condition with light oxidation from age.

(Noolcam, 1950s) A pair of “Time for Beany” moccasins featuring Beany on one foot and Cecil on the other. Labeled a size 10 with its original 3.5” x 4” x 9” tall box, the children’s moccasins are in very good condition with light discoloration and wear, while the box displays in very good condition with creases and a 1” tear.

(Mattel, 1950) A “Beany and Cecil” plush of Cecil the Seasick Sea Serpent manufactured by Mattel. Measuring 22” long from head to tail, the plush is in good condition with soiling and discoloration from age.

(Roclar, 1950) A Beany & Cecil soap on a rope with miniatures set. Included are a large green Cecil soap bar on a green and white braided fabric string, as well as nine sea-themed mini soaps. Ranging in size from a 1.5” x 1.5” miniature to the 2.5” x 4.25” Cecil bar with its original 5” x 2.75” x 5.25” tall box, the items are in good to very good condition with scratches, scuffs, and wear, while the box displays in good condition with tears, tape, creases, wear, and discoloration from age.

(Bantamlite, 1950) An unopened Beany-Cecil Flippo Flashlight that “glows in the dark.” Cecil’s eyes are designed to light up with the press of a button, but they did not function when tested. Measuring 3” in its original 4” x 8.5” packaging, the sealed flashlight is in very good condition with a scratch, while the packaging displays in good condition with creases, pinholes, and wear.

(Dapco, 1950s-60s) A rare production sample Captain Huffenpuff Punchy Toy weighted with sand in the bottom, so he’d bounce back when pushed. The toy has not been tested for inflation. Measuring 39” tall with its original 4.25” x 2.75” x 8.5” box, the toy is in very good condition with light paint loss and wear, while the box displays in very good condition with light creases, tape, and discoloration from age.

(Clampett, 1950s-60s) A Beany and Cecil Meet Santa comic book. The black and white comic with a full-color cover, tells the story of Cecil rescuing Santa from Dishonest John and saving Christmas for Beany. Measuring 3.5” x 6”, the comic book is in very good condition with a detached cover and light wear.

(Clampett, 1950s) Original promotional line art of Beany and Hunny Bear from Bob Clampett’s “Time for Beany.” Accomplished in ink with character images of 4” x 4” and 5” x 2.5” on 10” x 15” vellum, the piece is in good condition with adhesive residue to the reverse, visible from the front, edge wear, and protective coversheets hinged at the top with tape.

(Worcester, 1950s-60s) A Beany & Cecil 27-piece tea set by Worcester. Included are a sugar bowl, a creamer, a teapot, and four each of plates, saucers, teacups, spoons, forks, and knives. Measuring 15” x 18” x 3.5” deep, the unused set is in very good to fine condition with light scuffs, while the box displays in very good condition with light creases and wear.

(Worcester, 1950s-60s) A 21-piece unopened Beany and Cecil tea set by Worcester. Included are a teapot, a creamer, a sugar bowl, and three each of plates, saucers, tea cups, spoons, forks, and knives. Measuring 16.5” x 13.75” x 3.5” deep, the tea set is in very good condition with light scuffs, while the box is in good condition with tears, creases, and discoloration from age.

(Clampett, 1950s-60s) A pair of “Beany and Cecil” drapes featuring Beany encountering a pirate and treasure chest. Measuring 34” x 38” each, the burlap drapes display in very good condition with fraying, creases, and spots of discoloration from age.

(Clampett, 1950s-60s) A “Beany and Cecil” children’s bedspread featuring the title characters, Captain Horatio Huffenpuff, Dishonest John, and the Leakin’ Lena. Measuring 76” x 106”, the bedspread displays in very good condition with light wear, fraying, and spots of discoloration from age.

(Dapco, 1950s-60s) A rare production sample “D.J.” Dishonest John Punching Toy weighted with sand at the bottom, so he’d bounce back when pushed. The toy has not been tested for inflation. Measuring 50” tall with its original 3.5” x 5.5” x 11” box, the toy is in very good condition with light stains, while the box is in fair condition with heavy water damage, tape residue, and wear.

(Dapco, 1950s-60s) A Leakin’ Lena pool floatie manufactured by Dapco. The inflatable Beany and Cecil boat includes a detached mast featuring the iconic duo and has not been tested for inflation. Measuring 40” x 16” x 15” tall, the pool floatie is in very good condition with light paint loss and stains.

(Dapco, 1950s-60s) A production sample Leakin’ Lena pool floatie. The inflatable Beany and Cecil boat includes a detached sail featuring the iconic duo, a two-part mast rod, and a crow’s nest. It has not been tested for inflation. Measuring 40” x 16” x 15” tall, the pool toy is in very good condition with light paint loss, creases, and stains.

(Dapco, 1950s-60s) A production sample Cecil the Seasick Seaserpent Swim Ring by Dapco, sealed in the original packaging. The package describes the toy as 24" x 36”, and includes a hand-written manufacturer’s sample label inside The 9” x 8.5” sealed bag. The bag is in fair condition with wear from handling and age.

(Dapco, 1950s-60s) A Cecil the Seasick Seaserpent Swim Ring by Dapco, with the original packaging. The package describes the toy as 24" x 36”. The toy displays in fine condition but has not been tested for inflation. The 9" x 9" bag is in fair condition with wear from handling and age.

(Dapco, 1950s-60s) A Beany inflatable toy weighted with sand in the bottom, so he’d bounce back when pushed. The package describes the toy as 27” tall. The vinyl toy appears in very good to fine condition, slightly tacky to the touch, and has not been tested for inflatability. The envelope and product paper measuring 8” x 10” overall are in fair condition, with much handling wear, and tears and creases to the top of the paper.

(Dell, 1952) A page of original comic book art by Jack Bradbury from Dell Four Color #448 featuring Beany and Cecil. This is the lead page to the third story in the comic, in which Beany and Cecil encounter a miniature horse. The margin is stamped with approval by Bob Clampett and dated September 9, 1952. Measuring 19” x 25.75”, the art accomplished in ink with some pencil marks is in good production-used condition with spotting, edge wear, and some discoloration from age.

(Dell, 1953) The original art for five panels of the 1953 Dell Four Color #477 by Jack Bradbury. The art is the top of a page from the story “In Search of Caboose Goose Egg” with the bottom two frames missing. Measuring 18.75” x 17.75”, the art accomplished in ink on paper is in very good condition, with light edge wear, light waviness, and red grease pencil checks to the last three frames.

(Dell, 1955) An issue of Dell Four Color Comics # 635 featuring Beany and Cecil. Measuring 7.5” x 10.5”, the comic book is in good condition with a crease to the front cover, light soiling, wear to the spine including small creases, and a spot of discoloration to the corner of several pages.

(Dell, 1952) A pre-production sample of Dell Four Color #414, the first comic book released with the title “Beany and Cecil.” Issue 368 in 1952 was the first comic to feature the characters, and was titled “Bob Clampett’s Beany.” This book, most likely an early print sample, has an untrimmed cover with no staple holes, with the full coverless comic inside. Measuring 7.5” x 10.25”, the comic book displays in good condition, with edge wear to the cover, a 3” piece of masking tape on the back, and the first two inner pages loose from age, with some chipping to the edges.

(Whitman, 1953) A Bob Clampett’s Beany Coloring Book published by Whitman. Measuring 8.5” x 11”, the coloring book is in fair condition with creases, scratches, and heavy residue and paper loss to the back cover.

(Whitman, 1953) A Bob Clampett’s Beany Coloring Book by Whitman, with images of franchise favorites Beany, Cecil, Captain Huffenpuff, Dishonest John, and Wong. Measuring 8.5” x 11”, the box is in good condition with creases, pinholes, crayon marks to the cover, and discoloration from age.

(Dell, 1954) Four copies of Dell Four Color Comics number 570, “Beany and Cecil,” published in 1954. Measuring 7.5” x 10.25”, the comic books are overall in good condition with some light handling wear and small tears throughout, and slight water stains to one.

(Whitman, 1954) A Beany “Cecil Captured for the Zoo” storybook published by Whitman in their “Tell-A-Tale” series. Measuring 6.5” x 5.5”, the book is in good condition, with typical light handling wear, and the back stained with glue overall and with two large patches of paper loss.

(Whitman, 1955) A Bob Clampett’s Beany Coloring Book published by Whitman. Measuring 8.5” x 11”, the coloring book is in fair condition with scratches, creases, and heavy residue and paper loss to the back cover.

(Pressman, 1961) A Beany’s Beanbag game by Pressman Toy Corp featuring "Beany and Cecil." The game does not include the original beanbags or support brackets. Measuring 23.75” x 15.5” the game displays in very good condition with a small 0.25” section of missing paper to the top left corner and light discoloration from age.

(Clampett, 1960s) The master set of “Beany and Cecil” cufflinks produced by Bob Clampett as a gift for crew and friends of the show. Included is a note which reads "MASTER SET - Beany - Cecil Cuff-links" written in black ink by Clampett. Measuring 0.75” x 1” wide, the brass-colored cufflinks are in very good condition with tarnishing.

(Clampett, 1950s) A screen-used Willy the Wolf puppet operated by Bob Clampett in multiple projects, including “Willy the Wolf,” the first televised puppet show aimed at an adult audience. This more complex puppet required two hands to operate as opposed to the simple one-handed puppets used in “Time for Beany.” Included with the puppet is a photo of Clampett alongside Daws Butler performing a scene for test footage of “Beeper and his Guided Muscle.” Constructed of cotton, nylon, velvet, felt, vinyl, terrycloth, wig hair, wire, and wood and measuring 10.5” x 16” and 35” tall, the puppet displays in good condition with scratches to the nose, chipping around the eyes, light soiling from production use, and discoloration from age.

(Clampett, 1960s) A one of a kind walk around costume of Willy the Wolf. The head piece, constructed of cotton, nylon, velvet, felt, vinyl, terry cloth, wig hair, wire, and wood measures 16” x 10.5” x 9” tall and is in fair condition with paint cracking and adhesive residue on the nose, soiling and stains, and discoloration from age. The body which is constructed of linen, velvet, and terry cloth and measures 40” long and 16” from shoulder to shoulder is in poor condition with heavy deterioration to the hands, heavy soiling and staining to the cape including terrycloth residue from the hands from having adhered to and ripped from the fabric as well as intentional distress including rips and tears. The shoes are modified men’s shoes with felt spats which have detached and bulbus, cotton end caps and measure 13” x 4.25” wide are in poor condition with soiling, stains, and wear.

(Clampett, 1950s) A screen-used Willy the Wolf puppet. This smaller version of the character acted as the larger Willy puppet’s conscience, and was operated by Daws Butler. Constructed of cotton, nylon, velvet, felt, wig hair, wire, and clay and measuring 18” x 6” x 7”, the puppet is in very good condition with light paint wear around the eyes and face, light soiling from production use, and light discoloration from age.

(Clampett, 1950s-60s) An early version of a “Willy the Wolf” puppet with no hat and differences to the character’s distinctive black robe. Constructed of cotton, terrycloth, fur, linen, wood, and wire and measuring 24” x 10” x 12.75” deep, the puppet displays in good condition with scratches to the nose, chipping around the eyes, light soiling from production use, and discoloration from age.

(Clampett, 1955) A flier for potential sponsors of Bob Clampett’s “Willy the Wolf” puppet show. The first puppet show on American television aimed at an adult audience, “Willy the Wolf” followed a variety show format that included skits and musical performances. The show also featured well-known guest stars such as Harry Babbitt, Roberta Linn, and the King Sisters, who interacted with the Willy puppet. This innovative concept would later inspire Jim Henson in the creation of "The Muppet Show" nearly 20 years later. Measuring 11” x 8.5”, the flier is in fine condition.

(Clampett, 1970s-80s) An original hand-painted presentation cel of Willy the Wolf, the boisterous out-of-work actor from “Beany and Cecil.” With an image size of 8” x 8.5” on a 10.5” x 12.5” cel, the piece is in good condition with spots of paint loss, scratches, wear, and pinholes from presentation use.

(Clampett, 1970s-80s) An original hand-painted presentation cel of William Shakespeare Wolf, used by Bob Clampett for events and presentations. With an image size of 6” x 8” on a 10.5” x 12.5” cel, the piece displays in very good condition with scratches, wear, pinholes from presentation use, and paint adhered to the backing paper.

(Clampett, 1960s) An original hand-painted presentation cel of Willy The Wolf printed with a facsimile Bob Clampett signature. With a character image size of 8.5” x 6” on a 9.75” x 11.75” visible cel in a 9.5” x 7” matte, the piece displays in good condition with light line loss, light paint loss to the nose, and edge wear and discoloration to the matte.

(Clampett, 1954) A poster for the premiere of Bob Clampet’s “Willy the Wolf” puppet show. Willy, also known as William Shakespeare Wolf, initially appeared on "Time For Beany" before starring in his own KTTV show in Los Angeles. This show was the first puppet program aimed at adults, featuring skits and songs with celebrity guest stars. Its innovative format inspired Jim Henson in the creation of "The Muppet Show" nearly 20 years later. Measuring 28.75” x 19.75” the poster displays in good condition with edge wear, creases, and discoloration from age.

(Clampett, 1960-2008) The Bob Clampett Studios sign from 729 Seward Street in Hollywood. Here, Clampett worked on his many projects, including “Beany and Cecil,” and “Bugs Bunny: Superstar.” The animation pioneer also opened his doors to fans, allowing them into his memorabilia-filled office bursting with artifacts from the Golden Age of Warner Bros. The signs wires have been cut and it is not able to be tested for function. Constructed of metal and lucite, and measuring 72" x 22" x 9” deep, the sign is in good condition with scuffs, scratches, and adhesive residue from bird control spikes along the top.

(Clampett, 1960s) The original hand-drawn line art for Bob Clampett’s company logo. From shows to merchandise, this logo with Beany and Cecil was featured on virtually everything Bob Clampett was involved with in the 1960s. Accomplished in graphite and measuring 10.5” x 12.5”, the drawing is in good condition with edge wear, creasing, a 2.5” fold in the upper right corner, and light discoloration from age. Included are a pair of 10.5” x 8.25” color separation overlays used for printing, in very good condition with light edge wear and creasing.

(Clampett, 1959) The complete original 23-page storyboard for the first “Beany and Cecil” animated cartoon, “Beany and Cecil Meet Billy the Squid.” The storyboards include 207 individual images, all beautifully drawn by Bob Clampett himself, with some corrections and notations in red grease pencil. Famously, Robert Clampett, Jr. was introduced to the family business when he had to turn over his bedroom every morning to the animation department during the making of this pilot, which ultimately aired as a segment of the show’s 8th episode on February 24, 1962. Accomplished in graphite, the pages measure 10.5” x 12.5” and are in good condition with edge wear and creases from production use, and light discoloration from age.

(Clampett, 1962) An original production cel and matching background from the opening title sequence to “Beany and Cecil.” The multi-layer cel is missing only the layer with the character's hands. Measuring 13.5” x 17.5”, the cel and background display in fine condition with light edge wear from production use.

(Clampett, 1962) An original multi-layer production cel and matching background from the “Beany and Cecil” opening title sequence. With a character image size of 4.75” x 9.5” on a 10.5” x 12” cel and 10.5” x 14” background, the piece displays in fine condition with tape residue on the edges of the cel layers and corner pinholes to the background from production use.

(Clampett, 1962) A title card from the “Beany and Cecil” episode “Ben Hare,” presented with two non-scene matching cels of Beany and Cecil from unknown episodes. With character image sizes ranging from 3.5” x 2” to 6” x 4” on a 7.5” x 10” visible cel in a 14.25” x 17” matte, the piece displays in very good condition with light wear from handling and soiling to the upper side of the matte.

(Clampett, 1962) An original multi-layer production cel and background featuring Cecil and Go Man Van Gogh from the “Beany and Cecil” episode, “The Wildman of Wildsville.” Measuring 7” x 5.5”, the hand-painted cel and background are in very good condition presented in a 13” x 10” matte. The matte displays in good condition with bent corners to the top right and lower left, stains, and discoloration from age.

(Clampett, 1962) An original production cel and matching drawing of Beany’s propellor hats from the “Beany and Cecil” episode “Beany’s Beany-Cap Copter." Measuring 25” x 10” each, the cel is in good condition with horizontal folds, curling, and rips, and the drawing is in fair condition with separation to the paste-ups from age, paper discoloration, edge wear, and tears.

(Clampett, 1962) An original hand-painted production cel of Beany and a matching original background from the “Beany and Cecil” episode “There Goes a Good Squid.” With a character image size measuring 3” x 3.5” on a 9.75” x 11.75” visible cel in a 16” x 20” matte, the setup displays in fine condition with light handling wear from production use.

(Clampett, 1962) The complete 94-panel storyboard for the “Beany and Cecil” episode “Super Cecil.” Each 4” x 5” panel, accomplished in graphite, marker, and pastel, is in good condition with light discoloration and has been adhered into an 11” x 8.5” spiral-bound notebook, with most coming detached from the page.

(Clampett, 1960) An original production cel of Cecil from “Beany and Cecil,” signed in black ink with a dedication by Bob Clampett. With a character image size of 5” x 3.75” on a trimmed 6.5” x 4.5” cel in a 9.75” x 7.75” matte, the piece displays in very good condition with a small 0.25” tear on the left side of the cel which does not affect the character image and a small white stain to the right edge of the matte.

(Clampett, 1960) An early Beany model sheet from “Beany and Cecil.” The sheet shows 17 views of the animated interpretation of Beany. The first includes a sketch over the head indicating how his propellor cap should truly appear, almost certainly drawn by Bob Clampett himself. Model sheets like this were distributed to animators to ensure design continuity of the characters. Measuring 14.75” x 19.75”, the photostat model sheet is in very good condtiion, with light handling wear and small spots of dirt retention.

(Clampett, 1961) An original production used model sheet of "Careless the Mexican Hairless,” a recurring character from “Beany and Cecil.” The model sheet is a photostat copy on animation paper which has been hand colored by the show’s color stylist, Marie Reed. Measuring 8.5” x 11” the model sheet is in very good condition with light creases and edge wear from production use and light discoloration from age.

(Clampett, 1962) An original color model cel of Go Man Van Gogh from the “Beany and Cecil” episode “The Wildman of Wildsville.” Measuring 10.5” x 12.5” in a 15.75” x 19.5 matte, the cel displays in very good condition with a few small areas of light line loss.

(Clampett, 1962) An original production used photostat model sheet of William Shakespeare Wolf from the “Beany and Cecil” episodes “Never Eat Quakers in Bed” and “Harecules and The Golden Fleecing.” William, also known as "Willy the Wolf," initially appeared as a puppet on "Time for Beany." He later starred in his own show, which was notable for being the first puppet program aimed at an adult audience. Measuring 17” x 14” the model sheet is in good condition with a horizontal fold, discoloration from age, creasing, edge wear, and pinholes from production use.

(Clampett, 1962) An original production used photostat model sheet from the “Beany and Cecil” episode “Harecules and the Golden Fleecing.” Measuring 9.5” x 12” the model sheet is in very good condition with light creases and pinholes from production use.

(Clampett, 1962) A production used model sheet from the “Beany and Cecil” episode “Lil’ Ace from Outer Space.” The model sheet is a photostat copy on animation paper which has been hand colored by the show’s color stylist, Marie Reed. Measuring 9.75” x 14”, the model sheet is in very good condition with small tears to the peg holes, a 0.5” area of partial paper loss along the upper left edge, light discoloration, creasing, and handling from production use.

(Clampett, 1960) A “Beany and Cecil” production cel and matching background from the episode “Little Ace from Outer Space.” With a character image size measuring 4” x 4” on a 7.75” x 10.5 cel in a 13.25” x 15” matte, the cel and background display in very good condition with light paint cracking and line loss on the helmet and cheese, and a small area of paint loss on the left hand and pencil. The matte has pinholes in all the corners from display.

(Clampett, 1962) An original production used photostat model sheet of Bubbles from the “Beany and Cecil” episode “Ain’t That a Cork in the Snorkel?” Model sheets such as these were distributed to animators and crew working on the production so that everyone could draw the character the same way. Measuring 9.5” x 12” the model sheet is in very good condition with a 0.25” x 1” piece of tape on the top edge and light creases from production use.

(Clampett, 1962) An original hand-drawn model sheet of Snorky from the “Beany and Cecil” episode “There’s No Such Thing as a Sea Serpent.” The model sheet consists of six graphite drawings of the character and one copy of the text, cut and pasted to illustration board. Measuring 16” x 20” the model sheet displays in very good condition with light discoloration and edge wear from production use.

(Clampett, 1962) A “Beany and Cecil” production used photostat model sheet from the episode “The Capture of Tear-a-long the Dotted Lion.” Model sheets such as these were distributed to animators and crew working on the production so that everyone could draw the character the same way. Measuring 7.5” x 14” the model sheet is in very good condition with light edgewear and pinholes from production use.

(Clampett, 1962) A pair of photo prints of the complete storyboard for the “Beany and Cecil” episode, “The Mad Isle of Madhattan.” Each print includes hand-written notes in black and orange grease pencil by Bob Clampett. These photographic prints of the storyboards were used by animators for reference during production. Measuring 16” x 20”, the prints display in good condition with edge wear from production use, light warping from age, and one with a vertical crease with a 1.5” tear at the bottom.

(Clampett, 1962) A collection of seven photo prints of storyboards from the “Beany and Cecil” episode, “There’s No Such Thing as a Sea Serpent.” Included are a print of Board 4, four of Board 5, and two of Board 6, each with hand-written notes by Bob Clampett (who also narrated the episode) in red and orange grease pencil. These prints were used by animators for reference during production. Measuring 16” x 20” each, the prints display in good condition with creasing, edge wear, and light warping from age and production use.

(Clampett, 1962) A pair of photo prints of the complete storyboard for the “Beany and Cecil” episode, “The Hammy Awards.” These photograph prints of the storyboards include hand-written notes in black and orange grease pencil by Bob Clampett and were used by animators during production for reference. Measuring 16” x 20” each, the prints display in good condition with a vertical fold, edge wear from production use, and light warping from age.

(Clampett, 1962) A pair of photo prints of a storyboard from the “Beany and Cecil” episode, “D.J. the D.J.” These photographic prints of board 3 were used by animators for reference during production, and include hand-written notes by Bob Clampett in orange grease pencil. Measuring 16” x 20”, the print displays in good condition with edge wear, light creases, pinholes from production use, and light warping from age.

(Clampett, 1962) A photo print of a storyboard from the “Beany and Cecil” episode “There Goes a Good Squid.” This photograph print of board 1 includes hand-written notes by Bob Clampett in orange grease pencil and red ink. Measuring 16” x 20”, the print displays in good condition with edge wear, light creases, pinholes, and light warping from age and production use.

(Clampett, 1962) A photo print of Board 4 of the storyboard for the “Beany and Cecil” episode, “Hare Today, Gone Tomorrow.” The print has hand-written notations in orange grease pencil by Bob Clampett and was used by animators as a reference during production. Measuring 16” x 20”, the print displays in good condition with edge wear, light creases and pinholes from production use, and light warping from age.

(Clampett, 1962) A photo print of an early storyboard for the “Beany and Cecil” episode, “Cheery Cheery Beany.” The print has hand-written notations in orange grease pencil by Bob Clampett and was used by animators as a reference during production. Measuring 16” x 20”, print displays in good condition with a vertical fold down the center, edge wear from production use, and light warping from age.

(Clampett, 1962) A set of three photo prints of the complete storyboard for the “Beany and Cecil” episode, “Ben Hare.” The prints have notations hand-written in orange grease pencil by Bob Clampett and were used as animators as a reference during production. Measuring 16” x 20” each, the prints display in very good condition with edge wear from production use and light warping from age.

(Clampett, 1962) An original “Beany and Cecil” production background from the episode “Ben Hare.” Measuring 10.5” x 14”, the background is in fine condition with corner pinholes from production use, which do not affect the image.

(Clampett, 1962) An original “Park at the Top of the Stars” production background and cel of Beanyland. The park was redesigned here to less resemble Disneyland, with castle spires unlike Sleeping Beauty’s castle, the “Guided Muscle” on the left replacing a close match to Tomorrowland’s “Rocket to the Moon”, and the train station outside of the entrance removed. Measuring 10.5” x 12” each, the hand-painted cel and background display in very good condition with light signs of production use and adhesive residue and pinholes along the edges which do not affect the image area.

(Clampett, 1962) The original “Beany and Cecil” production used background map of “Beanyland” from the episode of the same name. “The Happiest Land Outside the Earth,” an obvious spoof of Disneyland, includes such areas as Slipping Beauty Castle, Day After Tomorrow Land, and Madhatter Horn. After the episode’s was screened by ABC, it was recut removing many of the Disney references, including a re-worked version of this map. Measuring 13.25” x 17.25” with the text on a separate 13.25” x 16.25” cel overlay, the hand-painted background displays in very good condition with signs of handling from production use and a small 0.5” x 0.25” tear in the lower right corner of the cel layer which does not affect the image.

(Clampett, 1962) The original production background of a Beanyland map from the “Beany and Cecil” episode “Park at the Top of the Stars.” Due to ABC’s concerns over Disneyland references, the “Beanyland” episode had been recut with slightly less Disney-directed animation and dialogue. The map was replaced with this more Beany-centric version that actually includes more area and attraction names. Measuring 14.5” x 16.75” with the text on two separate cel 15.5” x 16.25” overlays, the hand-painted background displays in good condition with signs of handling from production use, and one of the cel layers exhibits a 1.5” border of adhesive residue and a 4” tear along the bottom which does not affect the image.

(Clampett, 1960s) An original painted background of the ABC Studio from an unknown production. Measuring 18.25” x 17.75”, the background is in good condition with edge wear and pinholes from production use and paper loss to the lower corners.

(Clampett, 1960s) An original hand-painted publicity cel of Beany, Cecil, and Captain Huffenpuff from “Beany and Cecil,” paired with an original production background from an unknown episode from the series. With a character image size measuring 7” x 9” on a 9.75” x 11.75” visible cel in a 16” x 20” matte, the cel and background are in fine condition.

(Clampett, 1960s) A hand-painted publicity cel of Beany, Cecil, and Captain Huffenpuff from “Beany and Cecil,” presented with an original production background from an unknown episode of the series. With a character image size measuring 7” x 9” on a 9.75” x 11.75” visible cel in a 16” x 20” matte, the cel and background are in fine condition.

(Clampett, 1960s) A hand-inked and painted “Beany and Cecil” studio publicity cel. Measuring 8” x 10” with a character image size of 7” x 4.5”, the cel is in very good condition with light smudging to Beany’s right eye and a 2” mark of adhesive residue on the left side which does not affect the character image.

(Clampett, 1962) An original production cel and matching original background of Snorky and his mother from the “Beany and Cecil” episode, “There’s No Such Thing as a Sea Serpent.” The character image size measures 1.25” x 1.25” on a 12.75” x 16.5” cel and a 13” x 18.5” background, accomplished in gouache with two cel overlays measuring 13.25” x 18.5”. The piece is in very good condition with handling wear from production use and masking tape around the edges which does not affect the image.

(Clampett, 1962) An original multi-layer production cel of Cecil and Flora from the “Beany and Cecil” episode, “The Wildman of Wildsville.” The cel has been paired with a background from the same episode. With a character image size of 6.5” x 5.25” on a trimmed 9.75” x 10.5” cel and 10.5” x 10.5” background, the piece is in good to very good condition with paint wear to Cecil’s body, and pinholes, and edge wear to the background. The cel has been stapled twice along the bottom and once to the top attaching it to the background.

(Clampett, 1962) An original production cel of Pop Gunn from the “Beany and Cecil” episode “Dragon Train.” With an image size of 8.5” x 12” on a 10.5” x 12.5” cel, the piece displays in very good condition with spots of paint loss, scratches, wear, and pinholes from production use.

(Clampett, 1960s) A drawing by Bob Clampett of his “Beany and Cecil” characters poolside used to create a layout for a TV guide photoshoot in Clampett’s own backyard. In the TV Guide article from 1962, the Clampetts are pictured swimming alongside Beany, Cecil, Dishonest John, Captain Huffenpuff, Crowy, and secondary characters, Tear-A-Long the Dotted Lion, Careless the Mexican Hairless, Cecilia, and Go Man Van Gogh. With an image size of 16.5” x 23” on 19” x 23.75” vellum, the graphite drawing is in good condition with creases, wear, corner folds, and edge tears, including a 1.5” x 2.5” tear near the top left.

(Clampett, 1962) A layout drawing from the “Beany and Cecil” episode titled “Ten Feet Tall and All Wet.” The layout is an exact recreation of Bob Clampett’s personal backyard, meticulously drawn by Clampett himself, who notes on the piece for the background department to follow all of his details carefully. With an image size of 8.75” x 12” on 10.5” x 12.5” animation paper, the graphite and colored pencil drawing is in very good condition with creases, a tear at one of the pegholes, and wear from production use.

(Clampett, 1962) An original “Beany and Cecil” hand-painted production cel and scene-matching background from the episode “Ten Feet Tall and Wet.” Bob Clampett used his own home and backyard for the designs of the backgrounds in the episode, and in this shot, Bob hid one of his three Emmy Awards onto the mantel. With a character image size of 6” x 8.5” on a 10.5” x 12.5” cel and 10.5” x 14” background, the piece is in fine condition with corner pinholes to the background from production use.

(Clampett, 1960s) A hand-painted cel and background of Capt. Huffenpuff, Beany, Crowy, and Cecil as George Washington filming the “Delaware Bit.” The 9.5” x 12.25” cel is in fine condition, taped at the corners to the 10.75” 12.25 background, which is in good condition with light edge wear, pinholes, and tape residue along the top edge.

(Clampett, 1962) A “Beany and Cecil” pan layout drawing from the episode “Dirty Pool.” The drawing features the return of over 25 one-shot characters from the series. Measuring 10.5” x 37.5”, the graphite drawing is in good condition with light edge wear and creasing from production use, a tear to the center peg hole, a 1.25” tear to the bottom left edge, and three horizontal folds.

(Clampett, 1962) An original “Beany and Cecil” multi-layer hand-painted production cel featuring Beany, Cecil, and Captain Huffenpuff. Measuring 7.5” x 9.5” in an 11” x 14” matte, the piece displays in very good condition with light line loss and discoloration to the matte from age.

(Clampett, 1962) An original hand-painted production cel from “Beany and Cecil” signed by Bob Clampett. With a character image size of 6” x 4” on a 9.5” x 7.5” visible cel in a 14” x 11” matte, the cel displays in good condition with light line loss, a 0.5” area of paint loss on Beany’s right shoe, and light warping from age.

(Clampett, 1962) An original “Beany and Cecil” hand-painted production cel of Cecil from the episode “20,000 Little Leaguers Under the Sea,” signed by Bob Clampett. Measuring 7.5” x 9.5” in an 11” x 14” matte, the cel displays in fine condition.

(Clampett, 1962) A “Tale of Snorky” prop book used for the live-action scenes in the “Beany and Cecil” episode “There’s No Such Thing as a Sea Serpent.” This was the final episode of the series and introduced the character of “Snorky” whom Bob Clampett had developed earlier for a proposed puppet show called “Beeper and his Guided Muscle.” The hardcover book with a custom-painted front and back cover contains the five illustrated pages seen in the episode as well as four pages of preliminary text. Measuring 11” x 8.75” x 0.75” thick, the screen-used book is in very good condition with two detached but included pages and light discoloration from age.

(Clampett, 1960s) A promotional concept of Bob Clampett and Cecil being painted by the beatnik artist character Go Man Van Gogh. The drawing features an overlay with a sketch and a note to add a color photo of Bob Clampett to the final piece. Accomplished in graphite and crayon, the piece measures 10.5” x 12.5” with an image size of 7” x 5”, and is in very good condition with light creases and edge wear from handling.

(Clampett, 1950s-1960s) A “Beany and Cecil” color photo featuring Beany hugging Cecil as Dishonest John grins aboard the Leakin’ Lena. The reverse reads “Please return to Bob Clampett,” written by Clampett himself in pencil. Measuring 8” x 10”, the color photo is in good condition with light stains, scratches, creases, and discoloration from age.

(ABC, 1961) A press photo for the premiere episode of “Matty’s Funnies With Beany and Cecil.” “Spots Off a Leopard” was the first cartoon of Beany and Cecil to air during the January 6, 1962 premiere episode. Measuring 7” x 9”, the photo with attached caption is in very good condition.

(Clampett, 1959) A concept painting by Bob Clampett for a series titled “Beeper and his Guided Muscle,” combining puppets and animation. The serpent character, “Snorky,” would eventually be introduced to audiences a few years later in “Beany and Cecil.” Accomplished in gouache, ink, pastel, and airbrush and measuring 12.25” x 21.75”, the artwork is in very good condition with corner pinholes and light edge wear.

(Clampett, 1959) A concept painting of Bob Clampett’s “The Guided Muscle” for a series titled “Beeper and his Guided Muscle” developed after “Time for Beany” concluded. The Guided Muscle would appear three years later in animated form on “Beany and Cecil.” Accomplished with gouache and cel cutouts on a photo print and measuring 11” x 14”, the artwork is in good condition with light edge wear and warping.

(Clampett, 1959) A character concept drawing for Bob Clampett’s unproduced series “Beeper and his Guided Muscle.” Accomplished in gouache, watercolor, and ink, and measuring 10.75” x 7”, the drawing is in good condition with edge wear, light adhesive residue stains along the edges, and light discoloration from age.

(Clampett, 1959) A concept painting for Bob Clampett’s unproduced series “Beeper and his Guided Muscle” developed after “Time for Beany” concluded. Accomplished in gouache and ink on an 8.25” x 14.5” illustration board mounted to a 20” x 26” matte board, the painting displays in good condition with smudges, a 0.25” x 0.5” piece of tape in the center top edge, a 2.75” mark in pen on the upper left corner, and edge wear.

(Clampett, 1959) A concept painting for a series titled “Beeper and his Guided Muscle” developed by Bob Clampett after “Time for Beany” concluded. The mixed-media piece accomplished with pastel, watercolor, gouache, and ink measures 12” x 16” and is in very good condition with light edge wear and a light area of adhesive residue in the upper left corner. The artwork has been mounted to a 19.75” x 26” matte board in good condition with light stains, and edge and corner wear.

(ABC, 1961) A press photo with caption sheet for the premiere episode of “Matty’s Funnies With Beany and Cecil.” Our heroes face a mechanical menace in “Cecil Meets the Singing Dinasor,” a parody on the popular performer Dinah Shore. Measuring 7” x 9”, the photo and caption are in very good condition, with a spot of discoloration from glue to the caption sheet.

(Clampett, 1970s-80s) An original hand-painted cel of Sister Bell and Matty Mattel, the hosts of the Mattel-sponsored anthology series “Matty’s Funnies” which debuted the “Beany and Cecil” cartoons. The boy and Sea Serpent became so popular that the series was renamed “Matty’s Funnies with Beany and Cecil,” and finally simply “Beany and Cecil.” With an image size of 6” x 6.5” on a 10.5” x 12.5” cel, the piece is in good condition with paint loss, scratches, and pinholes at the corners from display.

(Clampett, 1970s-80s) An original hand-painted cel of Mild Bill Hickok from Bob Clampett’s “Beany and Cecil.” With an image size of 5.75” x 9.5” on a 10.5” x 12.5” cel, the piece is in good condition with spots of paint loss, tape residue, scratches, wear, and pinholes at the corners from display.

(Clampett, 1970s-80s) A hand-painted cel of the “Beany and Cecil” character Marilyn Mongrel. With an image size of 7.25” x 9.25” on a 10.5” x 12.5” cel, the piece displays in very good condition with spots of paint loss, scratches, edge wear, tape residue, and pinholes from display.

(DIC, 1988) A rare pair of animator’s maquettes for “The New Adventures of Beany and Cecil.” Maquettes are used by animators as a three-dimensional reference while animating the character. These were made by Kent Melton, who sculpted dozens of maquettes for Walt Disney, Warner Brothers, and other animation studios. Constructed with polymer clay and hand-painted, both Cecil and Beany maquettes are stamped with the number 5 and measure 3” x 7.5” x 10.25” tall and 2” x 4” and 6.75” tall on 0.5” thick wooden bases. Cecil displays in very good condition with a light crack along the bottom edge connecting the body to the base, while Beany displays in good condition with cracks to both wrists, hat propeller, right foot, and base. This lot requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A Bob Clampett signed Beany Explorers Club Official Membership Card and a secret message decoder whistle. The whistle features a movable cipher wheel to write and decode secret messages with the guide printed on the reverse. Measuring 4” x 2.5”, the card is in good condition with light wear and creases. The whistle measures 1” x 1.5” x 0.5” deep and is in very good condition with light warping to the character sticker.

(Mattel, 1960s) A Cecil Hand Puppet by Mattel from the personal collection of Bob Clampett. Measuring 7.5” x 5.5” and 4” deep, the terrycloth puppet is in very good condition with light soiling and a 1” area of fraying to the bottom left.

(Clampett, 1959) A screen-used puppet used in test footage of “Beeper and his Guided Muscle,” a proposed series developed by Bob Clampett. The Guided Muscle was a mechanical rocket ship with a fist that could overcome any obstacle or enemy. The four-piece handcrafted plastic puppet has pieces ranging from 1.75” x 2.5” long to 4.75” in diameter and 13.75” tall. The puppet is in good condition with light cracks, smudges, and wear from use.

(ABC, 1961) A press photo with an attached caption sheet for “Matty’s Funnies With Beany and Cecil” including Captain Huffenpuff. Measuring 7” x 9”, the photo and caption are in very good condition, with slight discoloration along the top of the photo.

(Superior Press, 1940s-60s) A printer’s block engraved with Cecil from Bob Clampett’s Beany and Cecil and the word “Pay” inside a speech bubble. The printer’s block was used to print the image in black and white and comes with the original Superior Press envelope printed with examples of other Beany and Cecil printer’s blocks. Measuring 1.5” x 1.75” and 1” deep, the block displays in very good condition with pencil markings from production and wear from use, while the 4.5” x 6” envelope is in fair condition with tears, creases, and wear from use.

(Dapco, 1960s) A Cecil the Seasick Seaserpent Swim Ring by Dapco, sealed in the original packaging. The vinyl ring is labeled as measuring 24” x 36” and appears to be in fine condition, although inflatability cannot be confirmed. The 9” x 8.5” sealed bag is in fair condition with wear from handling and age.

(Dapco, 1960s) A Beany inflatable toy weighted with sand in the bottom, so he’d bounce back when pushed. The sealed package describes the toy as 27” tall, and includes a hand-written manufacturer’s sample label inside. Measuring 8” x 8.5”, the sealed toy is assumed in very good to fine condition, with the packaging in fair condition with scuffs, scratches, and wear from age.

(Clampett, 1960s) An original brownline of pitch art with handwritten notes for a Beany Hat based on “Beany and Cecil.” Mattel eventually produced the propeller hat, with the name “Beany-Copter.” Measuring 17” x 22”, the brownline is in very good condition with horizontal and vertical center folds and discoloration from age.

(Pressman, 1960s) A production sample Beany and Cecil Ring Toss game given to retailers from Pressman Toys. The game is complete and includes a tin playfield, five plastic rings, and five wooden goal pegs featuring characters from the show. The game is in fine condition, housed in the original 14.5” x 9.75” x 2.25” deep box in good condition with seam splits to the bottom corners of the lid and tape repair to the bottom left corner of the box.

(Ben Cooper, 1960s) A pair of Beany and Cecil T.V. Star Halloween costumes. Each costume includes one plastic mask and a fabric jumpsuit patterned with the character. Measuring 9” x 7” x 2” deep, the masks are in good condition with light cracks and dents from use. The jumpsuits are labeled a size Medium and display in good condition with soiling and signs of wear. All costume pieces are packaged in the “Beany” costume box which measures 11” x 8.25” x 2.75”, in fair condition with the display window edges ripped, the cellophane missing, and light discoloration from age.

(Playskool, 1960s) A collection of five “Beany and Cecil” wooden puzzles, each with a different character, including Beany, Cecil, Dishonest John, and Captain Huffenpuff. Each measuring 13” x 11”, the puzzles are in fine as-new condition sealed in the original 16” x 14” x 0.75” deep packaging in good condition with corner and edge wear.

(Kellems Pasadena, 1950s) A Beany ceramic cookie jar by Kellems Pasadena. Measuring 8.5” in diameter at the base and 5.5” in diameter at the top and 8” tall, the jar displays in good condition with crazing throughout and light wear to the wooden lid.

(Vanity Fair, 1960s) A Beany-Cecil & Their Pals phonograph featuring the cast of Bob Clampett’s “Beany and Cecil.” The phonograph does not have a needle and the motor did not function when tested. Measuring 10.5” x 12” x 5” tall, the piece is in poor condition with heavy stains, faded colors, and oxidization to the metal latches.

(Vanity Fair, 1960s) A Beany-Cecil & Their Pals phonograph featuring the cast of “Beany and Cecil.” The phonograph appears to be unused but did not function when tested. Measuring 10.5” x 12” x 5” tall, the phonograph displays in very good condition with light stains and soiling throughout, light edge and corner wear, and a 0.5” graphite mark on the left side of the lid. The 15.5” x 11” x 5.5” deep box displays in good condition with water damage, stains, and shelf wear.

(Vanity Fair, 1960s) A Beany-Cecil & Their Pals phonograph featuring the cast of “Beany and Cecil,” with instructions and two sealed packages of needles. The phonograph appears unused but does not function when tested. Measuring 10.5” x 12” and 5” tall, the piece displays in very good condition with light stains to the top lid and water damage to the bottom right side and back right corner.

(Clampett, 1960s) An Official Beany Propeller Cap, constructed of felt with a translucent blue plastic spinning propeller, and an elastic chin strap. Measuring 7.5” in diameter at the opening and 4.5” tall, the hat is in fine condition.

(Hallman Products, 1960s) A prototype mock-up of the final box art for a Beany 3-D Mosaics craft kit. The box features printed text and logos, along with hand-drawn and colored illustrations taped and pasted down onto a pre-existing box from the product line. Measuring 6.25” x 10.5” x 1.25” deep, the box displays in very good condition with light discoloration from age.

(Hallman Products, 1960s) A prototype mock-up of the final box art for a Cecil 3-D Mosaics craft kit. The box features printed text and logos, along with hand-drawn and colored illustrations taped and pasted down onto a pre-existing box from the product line. Measuring 6.25” x 10.5” x 1.25” deep, the box displays in very good condition with light discoloration from age.

(Hallman Products, 1960s) A prototype mock-up of the final box art for a Dishonest John 3-D Mosaics craft kit. The box features printed text and logos, along with hand-drawn and colored illustrations taped and pasted down onto a pre-existing box from the product line. Measuring 6.25” x 10.5” x 1.25” deep, the box displays in very good condition with the front title and reverse illustration paste-ups missing and light discoloration from age.

(Hallman Products, 1960s) A prototype mock-up of the final box art for a 3-D Mosaic craft kit featuring Captain Huffenpuff, spelled here as “Captain Huff ‘N’ Puff.” The box features printed text and logos, along with hand-drawn and colored illustrations taped and pasted down onto a pre-existing box from the product line. Measuring 6.25” x 10.5” x 1.25” deep, the box displays in very good condition with the original Bob Clampett logo paste-up from the lower right corner missing and light discoloration from age.

(Hallman Products, 1960s) A complete 3-D Mosaics craft kit with colored stones, glue, and instructions to create a wall decoration Cecil. Measuring 6.25” x 10.5” x 1.25” deep, the contents are in very good unused condition, while the box displays in good condition with edge wear, and light discoloration from age.

(Hallman Products, 1960s) A complete 3-D Mosaics craft kit with colored stones, glue, and instructions to create a wall decoration of Cecil. Measuring 6.25” x 10.5” x 1.25” deep, the contents are in very good unused condition while the box displays in good condition with creasing to the right opening flap, shelf wear, and light discoloration from age.

(Hallman Products, 1960s) A complete 3-D Mosaics craft kit with colored stones, glue, and instructions to create a wall decoration of Dishonest John. Measuring 6.25” x 10.5” x 1.25” deep, the unused contents are in very good condition, while the box displays in very good condition with shelf wear and light discoloration from age.

(Hallman Products, 1960s) A 3-D Mosaics craft kit with colored stones, glue, and instructions to create a wall decoration of Capt. Huffenpuff. Measuring 6.25” x 10.5” x 1.25” deep, the unused contents are in very good condition, while the box displays in very good condition with handling wear and light discoloration from age.

(Thermos, 1960s) A “Beanie and Cecil” lunchbox and prototype Thermos. The Thermos features a wrap-around black and white photostat image of the show's characters and a label stating that the final product will be in full color. The 7” x 9” x 4” deep lunchbox and 8” tall and 3.5” diameter thermos are in fine condition.

(Thermos, 1960s) A “Beany and Cecil” Lunchbox featuring Beany and Cecil, Capt. Huffenpuff, and Dishonest John. Measuring 7” x 9.25” x 4.25” deep, the lunchbox is in fine condition.

(Thermos, 1960s) A “Beany and Cecil” lunchbox, featuring Beany and Cecil, Capt. Huffenpuff, Crowy, and Dishonest John, with a separate lower compartment containing a Thermos vacuum bottle. Measuring 8.5” x 8.5” x 3.25” deep, the lunchbox displays in fine condition with very light soiling. The Thermos measures 8” tall and 3.25” diameter and displays in very good condition with light oxidization to the metal and adhesive residue to the plastic cap.

(Roclar, 1960s) A Beany & Cecil Floater with Bubbles toy. The figural Cecil container doubles as a floating bath toy when empty. Measuring 8” x 3” x 4.5” deep, the container is in fine as-new condition in the original 8” x 3.75” x 3.75” box which displays in good condition with handling wear, light creases, and a tear to the cellophane display window.

(Roclar, 1960s) A Bob Clampett’s Beany & Cecil Soap On a Rope with Miniatures set. Included with the set are one Cecil-shaped soap on a rope and 9 small bars of sea-themed soaps. Ranging in size from 1.5” x 1.5” x 0.25” thick to 4” x 2.5” x 2.5” thick, the soaps are in very good, unused condition with a slight area of wear and discoloration to the front of the larger Cecil soap. The soaps come with the original 5” x 5” x 2.5” box, in very good condition with light discoloration from age.

(Clampett, 1961) A promotional licensing kit for the premiere of “Beany-Cecil & Their Pals” which released as simply “Beany and Cecil.” The 11” x 8.5” press kit contains information on the show, its network, and airtime, four 8” x 10” glossy black and white photos with bios of the show’s central cast, and a sericel of the cast measuring 6.25” x 8.75’ in an 8.5” x 10.75” matte. The kit displays in very good condition with light wear to the corners of the kit folder and sericel matte.

(Mattel, 1961) The cardboard box only for a Mattel “Cecil in the Music Box!” toy. Measuring 5.5” x 6.75” x 5.75”, the box is in very good condition with small scuffs, and typical wear from assembly and storage including small creases to edges, and small tears at some corners and flap edges.

(Mattel, 1961) A Beany and Cecil Match It Puzzle Tile Game by Mattel. The beautifully preserved unpunched game features Beany, Cecil, Captain Huffenpuff, and Dishonest John. Measuring 14” x 18”, the game is in very good condition with light wear.

(Mattel, 1961) A Loveable…Huggable Beany by Mattel doll. The vinyl and plush doll features fabric clothing, a spinning propeller hat, and shoes stamped with the Bob Clampett and Mattel logos. Measuring 7” x 4.5” and 15” tall, the doll is in good condition with very small specs of white paint on the arms, light stains on the cloth body and marks to the vinyl.

(Mattel, 1961) A Loveable…Huggable Beany by Mattel doll with the original box. The vinyl and plush doll features fabric clothing, a spinning propeller hat, and shoes stamped with the Bob Clampett and Mattel logos. Measuring 7” x 4.5” and 15” tall, the doll is in very good condition with light paint loss on the left eyebrow, a small 0.25” stain on the right overall pocket, and a trace of the original tag which has been cut off the back of the right leg. The 15.5” x 9” x 6.25” box is in good condition with handling wear and tear, discoloration, and warping from age.

(Mattel, 1961) A Loveable…Huggable Beany by Mattel doll with the original box. The vinyl and plush doll features fabric clothing, a spinning propeller hat, and shoes stamped with the Bob Clampett and Mattel logos. Measuring 7” x 4.5” and 15” tall, the doll is in good condition with light stains on the cloth body and marks to the vinyl. The 15.5” x 9” x 6.25” box displays in very good condition with light discoloration from age and a small tear to the top flap.

(Mattel, 1961) A “Beany and Cecil” Soft & Huggable Talking Cecil by Mattel. The green plush includes 11 different phrases, but does not function as the pull ring is missing. Measuring 10” x 11” 14.5” tall with its 7.5” x 12.25” x 16.25” tall original box, the plush displays in very good condition with the magic ring missing, light wear, and discoloration from age, while the box is in good condition with tape, spotting, creases, and wear.

(Mattel, 1961) A soft huggable plush Cecil doll by Mattel complete with the original tags and box. Measuring 14” x 7” x 10.5” deep, the doll displays in very good condition with some discoloration from age and a horizontal crease to the tag. The 15” x 9.75” x 5.75” deep box displays in good condition with light wear and discoloration from age.

(Mattel, 1961) A Soft & Huggable Talking Beany by Mattel doll with the original box. The vinyl and plush pull-string doll has 11 phrases with the character’s original voice provided by Jim MacGeorge. The talking features have been tested with each phrase clear and audible, however, the string retracts to the starting position before the sound can finish, cutting some phrases short. Measuring 9” x 6.75” and 16.5” tall, the doll is in very good condition with a small 0.25” red mark on the left shoe and light discoloration to the body from age. The 18” x 10” x 6.75” box displays in good condition with tears to the front, handling wear, and light discoloration from age.

(Roclar, 1961) An unopened Bob Clampett’s Beany & Cecil Wash Cloth and Bubble Bath set. Included are eight individually packaged bubble baths and a washcloth featuring the stars of “Beany and Cecil.” Measuring 5” x 13”, the unopened set is in very good condition with discoloration from age.

(Pressman, 1961) A Leakin’ Lena Pound ‘n’ Pull wooden toy boat in its original packaging, featuring Beany, Cecil, Crowy, Captain Huffenpuff, and Dishonest John. Measuring 14.25” x 5.25” x 4.75” tall, the unopened toy is in very good condition with a 1.75” tear on the paper Captain Huffenpuff and a tear at the bottom right corner of the package.

(Alexander’s, 1961) A set of Beany and Cecil Cartoon Characters pajamas by Alexander’s. The pajamas are labeled a size 6 (height 35-40) and display in fine condition with a spot of discoloration from an intentional hole in the bag. The bag measures 8” x 10.5” and is in good condition, with some color transfer from an item stored in contact with the back.

(Mattel, 1961) A Cecil in the Music Box! by Mattel with the original box. When tested, the hand-cranked musical jack-in-the-box did not function, and Cecil only popped out of the box when manually opened. Measuring 5.5” x 5” x 5.25” deep, the toy is in very good condition with light scratches to the front side and the word “FRONT” written on the front in orange grease pencil. The original 5.75” x 6.25” x 5.25” packaging displays in good condition with two 0.5” holes on the top and discoloration from age.

(Mattel, 1961) An unopened “Beany & Cecil” Talk to Cecil Talking Adventure Game by Mattel. Inside are a Cecil plush hand puppet, a colorful game board, game pieces, cards, and instructions. As the game is unopened, the talking features have not been tested. Measuring 12” x 13.5”, the game is in assumed fine condition, while the box is in good condition with light discoloration from age, wear, stains, creases, and tears in the plastic packaging.

(Mattel, 1961) An unopened “Beany & Cecil” Talk to Cecil Talking Adventure Game by Mattel. Inside are a Cecil plush hand puppet, a colorful game board, game pieces, cards, and instructions. As the game is unopened, the talking features have not been tested. Measuring 12” x 13.5”, the game is in assumed fine condition, while the box is in fair condition with discoloration from age, wear, dents, creases, and tears in the packaging.

(Mattel, 1961) A wind-up “Beany and Cecil” Ge-tar by Mattel featuring Beany, Cecil, Crowy, Capt. Huffenpuff, and Dishonest John. The toy’s crank-operated music box function, wagging tongue, and eye-moving features did not work when tested. Measuring 5” x 1.5” x 14” long, the toy guitar is in fair condition missing strings, its eyes loose inside, scuffs, stains, wear, and discoloration from use.

(Mattel, 1961) A wind-up “Beany and Cecil” Ge-tar by Mattel featuring Cecil, and Beany, Crowy, Capt. Huffenpuff and Dishonest John aboard the Leakin’ Lena. The toy’s crank-operated music box function, wagging tongue, and eye-moving features did not work when tested. Measuring 5” x 1.5” x 14” long, the toy guitar is in good condition with wear, stains, and discoloration from age.

(Mattel, 1961) A wind-up “Beany and Cecil” Ge-tar by Mattel. The toy’s crank-operated music box function, wagging tongue, and eye-moving features did not work when tested. Measuring 5” x 1.5” x 14” long with its original 5.25” x 1.75” x 14” tall box, the toy guitar is in very good condition with light wear and scratches on the reverse, while the box is in good condition with creases and wear.

(Mattel, 1961) A wind-up “Beany and Cecil” Ge-tar by Mattel. The toy’s crank-operated music box function, wagging tongue, and eye-moving features did not work when tested. Measuring 5” x 1.5” x 14” long with its original 5.25” x 1.75” x 14” tall box, the toy guitar is in very good condition with light wear, while the box is in good condition with light discoloration from age, wear, and creases throughout.

(Mattel, 1962) A wind-up “Beany and Cecil” Ge-tar by Mattel with the original box. The toy’s crank-operated music box function, wagging tongue, and eye-moving features did not work when tested. Measuring 5” x 1.5” x 14” long with its original 6” x 2” x 14.25” tall box, the toy guitar is in very good condition with light wear, while the box is in good condition with stains, scuffs, wear, and tears in the plastic covering.

(Mattel, 1962) A Beany & Cecil TV Pals Two-Gether Cecil talking plush. When tested, the talking feature worked intermittently and quietly, and the plush does not stand upright. Measuring 15” x 12” x 16” tall with its 6” x 16” x 15.5” tall box, the plush and box are in good condition with stains and wear.

(Mattel, 1962) A Talking Plush Cecil The Seasick Sea Serpent Hand Puppet by Mattel. The toy speaks when its ring is pulled and worked intermittently when tested. Measuring 6” x 8.5” in its original 7.5” x 4.75” x 11.5” tall box, the puppet is in very good condition with light wear, while the box is in good condition with scuffs, tape, and spots of discoloration.

(Mattel, 1962) A Talking DJ (Dishonest John) Hand Puppet by Mattel. The toy speaks when its ring is pulled and worked intermittently when tested. Measuring 6.5” x 10” in its 7.5” x 4.75” x 11.5” tall box, the puppet is in very good condition with scuffs and stains, while the box is in good condition with discoloration from age and light wear.

(Mattel, 1962) An unopened Lovable, Plush Cecil and his Disguise Kit by Mattel. Inside the kit are 18 disguises for the Cecil plush, including outfits for a hula dancer, cowboy, Super Cecil, and the villainous Dishonest John. Measuring 11.5” x 3.25” x 17”, the sealed contents of the kit are in fine as-new condition, with the box exhibiting light wear and discoloration from age.

(Mattel, 1962) An unopened Lovable, Plush Cecil and his Disguise Kit by Mattel. Inside the kit are 18 unique disguises for the Cecil plush, including outfits for a hula dancer, cowboy, Super Cecil, and Dishonest John. Measuring 11.5” x 3.25” x 17”, the sealed contents are in fine as-new condition, while the box displays in very good condition with light scuffs, stains, wear, and discoloration from age.

(Mattel, 1962) An unopened Lovable, Plush Cecil and his Disguise Kit by Mattel. Inside the kit are 18 disguises for the Cecil plush, including accessories for a hula dancer, cowboy, Super Cecil, and Dishonest John. Measuring 11.5” x 3.25” x 17”, the sealed contents are in fine as-new condition, while the box exhibits light wear.

(Clampett, 1962) A green plastic bath toy of Cecil from the “Beany and Cecil” animated series. Measuring 7” tall and 3.25” in diameter, the toy is in good condition with scratches, stains, scuffs, and wear.

(Whitman, 1962) A Beany and Cecil coloring book with drawings by Allan Hubbard and William Lorencz. Measuring 8.5” x 10.75”, the coloring book is in very good condition with the spine intact, very light wear to the edges, and pages off-white from age.

(Colorforms, 1962) A Bob Clampett’s Beany and Cecil Cartoon Kit by Colorform. The complete set has 23 plastic pieces of characters and props and a workboard. Measuring 88.25” x 13” x 1” tall, the unused kit is in fine as-new condition, while the box displays in very good condition with handling wear and light discoloration from age.

(Colorforms, 1962) A large Bob Clampett’s Beany & Cecil Cartoon Kit by Colorforms. The complete kit has 46 plastic pieces of characters and props and one workboard. Measuring 13.25” x 16.75” x 1” deep, the kit is in fine as-new condition, while the box displays in very good condition with handling wear and light discoloration from age.

(Dell, 1962) Two copies of the first issue of the Beany and Cecil Comics 1962 run by Dell Comics. One is labeled “file copy” with orange grease pencil, and includes some editorial markups on the cover as well. Measuring 7” x 10.25” each, the comics are in good and very good condition, with typical light handling wear mainly to the edges.

(Playskool, 1962) A “Beany and Cecil” Playskool Color Modeling Dough set including four polyethylene dough containers with cookie-cutter lids of Beany, Cecil, Captain Huffenpuff, and Dishonest John. Measuring 3” x 11.75” x 3.75” tall, the set is in fair condition with tears, creases, wear, and loose crystalized dough.

(Clampett, 1959) A pair of children's antennae-topped helmets printed with illustrations relating to Bob Clampett’s unproduced series “Beeper and his Guided Muscle.” When tested for function, the tops of the antennae glowed blue. Measuring 6.5” in diameter and 4.5” tall, the helmets are in good condition with discoloration from age, stains, scuffs, and wear.

(Dell, 1962) An issue of Beany and Cecil No. 2, published by Dell in November of 1962. Measuring 7” x 10.25”, the comic book is in very good condition with very light handling wear.

(Dell, 1963) The original art for page 24 of the 1963 Beany and Cecil Comic # 4 by Willie Ito. The art is the first view of the newly-built “Beanyland” in the story of the same name. Measuring 15” x 20”, the art accomplished in ink on paper is in very good condition, with light edge and handling wear, and some pencil marks mainly in the bottom margins.

(Dell, 1963) An issue of Beany and Cecil No. 3, published by Dell in January of 1963. Measuring 7” x 10.25”, the comic book is in very good condition with very light handling wear.

(Dell, 1963) Issues 3 and 4 of Dell Comics 1960s run of Beany and Cecil comic books. Measuring 7” x 10.25” each, the comic books are in good condition, with light wear from age and handling, and a pencil mark in the corner of the issue 3 cover.

(Dell, 1963) Two issues of Beany and Cecil No. 4, published by Dell in April of 1963. Measuring 7” x 10.25”, the comic books are in fine condition.

(Dell, 1963) Three copies of the fifth issue of the Beany and Cecil Comics 1960s run by Dell Comics. Measuring 7” x 10.25” each, the comics are in fair to very good condition. The fair issue has stains and scuffs to the cover with pencil marks inside. The very good issues have light handling wear, some color shift to paper from age, and one with slight soiling across the title.

(Western Publishing, 1963) A “Beany Goes to Sea” Little Golden Book featuring Beany and Cecil. Measuring 8” x 6.75”, the book is in very good condition, with typical light wear from handling and age, and a spot of wear to the back bottom edge near the spine.

(Saalfield, 1963) An Entertaining Educational Color Your Favorite Bob Clampett TV Stars coloring book. Characters featured include Beany, Cecil, Thunderbolt, Twinkle-Twinkle, Baby Ruthy, and many more. Measuring 8.5” x 11”, the coloring book is in good condition with light creases, scratches, wear, and discoloration from age.

(Saalfield, 1968) A Bob Clampett’s Beany Coloring Book by The Saalfield Publishing Company. Measuring 8.5” x 11”, the coloring book is in very good condition with light creases, a full horizontal crease, wear, and discoloration from age.

(Clampett, 1960s) A test print for the cover of a Bob Clampett’s “Beany and Cecil” coloring book. Measuring 17” x 21”, the print is in good condition with pinholes, edge wear, creasing, a vertical fold down the center, spots of adhesive residue, and light discoloration from age.

(Chiquilladas, 1969-70) A collection of seven Chiquilladas Presenta: Benito Y Su Serpiente Marina Spanish-language comic books starring Bob Clampett’s “Beany and Cecil,” with two pairs of duplicates. These books reprint the stories from the English language Dell comics of the 1950s. Measuring 7” x 10.25” each, the Beany and Cecil comic books are in very good condition with light creases, wear, and spots of discoloration from age.

(Cartoonpoint Unlimited, 1975) A needlepoint pattern of Beany. Measuring 12” x 12”, the pattern is in fine condition in the original package.

(Cartoonpoint Unlimited, 1975) A needlepoint pattern of the villainous Dishonest John. Measuring 12” x 12”, the pattern is in fine condition in the original package.

(Chiquilladas, 1981) A set of three issues of “Chiquilladas” reprinting early Dell Beany and Cecil books in Spanish as “Benito y Cecilia.” Measuring 7.75” x 5.5”, the comic books are in very good condition with light handling wear.

(RCA/ Columbia, 1984) A Magic Window Bonus box of Volume 8 of the “Beany and Cecil” cartoon on VHS with an official Cecil The Sea Sick Sea Serpent Hand Puppet. Measuring 10” x 15.75” x 3” deep, the set is in fine as-new sealed condition with warping and discoloration to the packaging from age.

(Columbia Home Video, 1984) A poster for the original home video release of “Beany and Cecil” on videotape in 1984. Measuring 27” x 41”, the poster is in fair condition with heavy edge wear, small creases throughout, and larger creases down the left side.

(RCA/ Columbia, 1984) A “Beany and Cecil” motorized and talking video store display promoting the 1984 release of “Beany and Cecil” on VHS and Betamax. With a battery-operated motor and voice box, the Leakin’ Lena was designed to rock back and forth while Cecil emerges from the waves to present a sales pitch for the series. Both the motor and voice box have been tested, and only the voice box is operational with a C-cell battery (not included). Measuring 17.5” x 20” x 5” deep, the display is in good condition with water stains along the bottom, color shift from sun exposure, and edge wear from store use.

(Clampett, 1960) A custom wooden sign of Beany that hung on the front of Bob Clampett’s poolside bar at his home. This was one of many cut-outs of characters that he used to decorate his backyard. Measuring 16” in diameter and 0.25” thick, the wooden sign is in good condition light chips, paint cracks, and color fading from age.

(Clampett, 1960s) A handmade wooden cut-out of Captain Huffenpuff and Crowy from “Beany and Cecil,” that decorated Bob Clampett’s backyard pool area. Measuring 60.75” x 30” x 0.25” thick, the display is in fair condition with edge wear, peeling, scratches, cracks, soiling, a broken tip of Crowy’s hair, and light discoloration from age. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A wooden cut-out of Cecilia McCoy from “Beany and Cecil,” that decorated Bob Clampett’s backyard pool area. Measuring 71” x 22.75” x 0.25” thick, the display is in fair condition with edge wear, peeling, scratches, cracks, soiling, and light discoloration at the bottom. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden display of Bob Clampett’s logo featuring Beany and Cecil. Measuring 31” x 34.5” x 0.25” thick, the sign is in fair condition with edge wear, peeling, scratches, cracks, soiling, and light discoloration from age. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out display of Cecil from “Beany and Cecil, that decorated Bob Clampett’s backyard pool area. Measuring 37.5” x 72”, Cecil is in very good condition with light scratches and wear. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A wooden cut-out of the circular “Beany and Cecil” logo. Measuring 39” x 61” and 0.25” thick, the display is in good condition with scuffs, peeling, holes from displays, stains, and wear. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A large double-sided “Beany and Cecil” display with Beany on one side, and Cecil on the other. Constructed of metal and wood and measuring 36” in diameter and 4” wide, the sign displays in fair condition with peeling, residue stains, a break in Beany’s right hand, soiling, and discoloration from age. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A wooden display sign of Bob Clampett’s logo featuring “Beany and Cecil,” that hung from the side of Clampett’s car during the Santa Claus Lane Parade on Hollywood Blvd. Measuring 25.75” x 30.25” x 0.25” thick, the sign is in very good condition with a small crack to Cecil’s right eyelash, light soiling and cracking, and light discoloration from age.

(Clampett, 1960s) A handmade wooden cut-out of Dishonest John from “Beany and Cecil,” that decorated Bob Clampett’s backyard poolside bar. Measuring 30.5” x 30.5” x 0.25” thick, the display is in fair condition with edge wear, peeling, scratches, cracks, soiling, and light discoloration from age. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Tear-A-Long the Dotted Lion from “Beany and Cecil,” that decorated Bob Clampett’s backyard poolside area. Measuring 47.5” x 37.25” x 0.25”, the cut-out displays in good condition with a broken tail, light soiling, light edge wear, and light discoloration from age. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Oberlin, 1950s–80s) An original tribal painting created by Bill Oberlin for Bob Clampett. Oberlin served as the art director on “Time for Beany” and provided voices for Clampett’s television series “Thunderbolt the Wondercolt.” Oberlin signed the piece with an inscription to Clampett in blue ink. With an image size of 9.75” x 14.5” on a 13.25” x 15.25” artist board, the mixed-media piece is in good condition with creases, edge wear, discoloration from age, and 1” x 1” of material loss at the top right corner.

(Clampett, 1959) A wooden Rickety Rocket prop used in test footage for Bob Clampett’s unproduced series "Beeper and His Guided Muscle.” Measuring 14.5” x 39.75” and 0.5" thick and 21” x 39.75” x 0.75" with the wooden base, the ship displays in good condition with stains, scratches, scuffs, and wear. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A wooden handmade cut-out of a star and Lil’ Homer from the “Beany and Cecil” episode “20,000 Little Leaguers Under the Sea,” that decorated Bob Clampett’s backyard poolside area. Measuring 42” x 49” and 0.25" thick, the display is in fair condition with scratches, peeling, scuffs, cracks, and wear. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Jacques the Knife from “Beany and Cecil.” Measuring 18” x 30.5” and 0.25” thick, the piece is in fair condition with stains, chipping, scratches, spotting, and wear. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Crowy atop the Leakin’ Lena, the trustworthy boat from “Beany and Cecil.” Measuring 41” x 74.5” and 0.25" thick, the display is in poor condition with heavy stains, scuffs, peeling, wear, and discoloration from age. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of the Wildman of Wildsville, also known as Go Man Van Gogh from Bob Clampett’s “Beany and Cecil.” Measuring 45” x 81” and 0.25” thick, the display is in good condition with edge wear, light chips, scratches, peeling, and light discoloration. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of the “Beany and Cecil” character the Little Ace from Outer Space. Measuring 24” x 16.25” and 0.25” thick, the display is in fair condition with edge wear, peeling at the right foot, a broken tail, scratches, cracks, soiling, and discoloration. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Careless the Mexican Hareless from “Beany and Cecil” that decorated Bob Clampett’s backyard pool area. Measuring 21.75” x 22.5” and 0.25” thick, the display is in fair condition with edge wear, broken tail, peeling, scratches, cracks, soiling, and discoloration. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Humbug from “Beany and Cecil.” Measuring 14.5” x 18.5” and 0.25" thick, the display is in poor condition with spotting, cracks, scratches, wear, discoloration from age, and one antenna and half a foot broken off and missing. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Hercules Hare from “Beany and Cecil.” Measuring 25” x 15.5” and 0.25” thick, the display is in fair condition with edge wear, two missing broken whiskers on the left, two broken but still attached whiskers on the right, peeling, scratches, cracks, soiling, and discoloration. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Davey Cricket with his gun, Ol’ Betsy, from “Beany and Cecil,” that decorated Bob Clampett’s backyard poolside area. Measuring 45” x 31.5” and 0.25” thick, the display is in fair condition with edge wear, peeling, scratches, soiling, a 2” x 1.5” area of missing paint on the right edge of the gun, a 1” x 1” area of missing paint on Davey’s right arm, and light discoloration from age. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(Clampett, 1960s) A handmade wooden cut-out of Davey Cricket from “Beany and Cecil.” Measuring 11” x 17” and 0.25" thick, the display is in fair condition with peeling, scratches, wear, discoloration from age, and the top of Davey’s gun broken and missing.

(Clampett, 1960s) A handmade wooden cut-out of Snorky from “Beany and Cecil" holding a melting pie. The character appeared in the final episode of the animated series, where his backstory is narrated through song. Measuring 57.5” x 92.5” and 0.25" thick, the display is in fair condition with scratches throughout, scuffs, peeling, stains, pinholes, wear, and several separations at the bottom of the pie drippings. Due to size and weight, this item requires special shipping arrangements. Please inquire before bidding.

(CalArts, 1969) Roy E. Disney’s shovel from the groundbreaking for CalArts in 1969. In 1961, Walt and Roy O. Disney guided the merger of the Los Angeles Conservatory of Music and the Chouinard Art Institute to form the California Art Institute. Construction finally began in Valencia, California with “The Great Ground Breaking” on May 3, 1969. Walt had passed away, but attending were his widow, Lilian Disney, son-in-law Ron Miller (then the President of the Walt Disney Company), and Roy E. Disney, Walt’s nephew, who was standing in for his father Roy O., who was unable to attend. Roy E. personally used this shovel in the groundbreaking ceremony and gifted it to Bob Clampett, who was in attendance. Included are Clampett’s collected materials from the event including an invitation, button, press folder for the groundbreaking, and newspaper clippings including one with “Bob Clampett” pointed out in the background by the artist himself, effectively signing it. Also included is a boxed set of six abstract serigraphs that also serve as pamphlets for the schools of the college. Measuring 6.25” x 26”, the shovel is in very good condition with typical wear from use. The 2.25” button and 4.25” x 9.25” invitation are in very good condition with light handling wear and spots of oxidation to the back of the button. The 10.25” x 12” press folder is overall in good condition, with wear to the folder including creased edges, the interior papers in fine condition, and the newspaper clippings with typical discoloration from age. The 12” x 12” serigraphs are in very good condition with serigraphs for the schools of Film and Art missing and light handling wear. The 12.25” x 12.25” serigraph box is in fair condition with much wear including staining, creases, and split edges.

(Clampett, 1961) A photograph of Bob Clampett at his studio celebrating his birthday with his family and the crew of “Beany and Cecil.” Measuring 8” x 10”, the photo is in very good condition.

(Communicators Unlimited, 1971) A “King” Kirby Portfolio signed with a personal inscription from Jack Kirby to Bob Clampett in purple marker. The portfolio features black and white and full-color artwork by the legendary Marvel artist. Measuring 11” x 14”, the portfolio is in good condition with creases, scratches, stains, and wear on the cover.

(Clampett, 1977) A poster for “An Evening with Bob Clampett” on October 7th at the University of Arizona’s Gallagher Theatre. The event included Clampett performing with his Cecil puppet, screening cartoons, and a slide lecture. Measuring 11” x 17”, the poster displays in good condition with edge wear, light creasing, a 0.5” tear on the right edge, and discoloration from age.

(Clampett, 1970s) An original multi-layer presentation cel of Cecil and a silhouette of Bob Clampett. Clampett projected this cel at his live speaking engagements, where he would perform with his “Cecil in a Basket” puppet. Measuring 15” x 17.25” the cel displays in good condition with areas of paint transfer from Cecil’s basket, nose, mouth, and lower body cel layer to the last layer, light surface scratches and scuffs, and light warping from age.

(Clampett, 1970s) A large Cecil the Seasick Sea Serpent in a Basket hand puppet. In later years, Bob Clampett spoke at public appearances, sharing stories about his career with fans who had grown up with his work. Clampett entertained the audience by voicing and interacting with this Cecil puppet dueing local and TV appearances. Constructed of terrycloth, rubber, plastic, and felt, the puppet measures 10” x 11” and 20” tall and displays in very good condition with discoloration from age and stains and wear from use. The wicker basket attached to the puppet measures 14” in diameter and 6.5” tall and is in very good condition.

(Clampett, 1970s-80s) Bob Clampett’s personal selection of original art representing his career. Throughout the 1970s and 80s, Bob travelled to conventions, colleges, and screenings presenting a retrospective of his career in animation. This custom denim-patch-patterned oversized case travelled with him, and it still bears the original identification tag hand-written by Bob with his Hollywood Studio address. Inside is a 10-panel presentation of incredible original pieces from Clampett’s career. Highlights of these boards include: - An overview of Clampett’s creations at Schlesinger including four 9” x 7.25” character cels of Tweety, Sylvester, Daffy Duck, and Porky Pig, two original 5” x 6” storyboard panels of Daffy Duck and Yosemite Sam, and an 8” x 10” photo model sheet of Tweety. - Two boards display reprints of 32 storyboard panels from the Tweety cartoon “Birdy and the Beast,” hand colored by Clampett. - An original hand-painted “Time for Beany” title card proudly displaying an Emmy win for the series. Also included are two publicity stills and three fan cards for this series and Willy the Wolf. - A full page of original art from the Dell “Beany and Cecil” comic book#414 in 1952. - Seven fantastic cels from the animated “Beany and Cecil” series displayed with multiple model sheets and original production drawings. - A board on early Disney animation featuring a Mickey Mouse model sheet hand-drawn by Bob Clampett himself. It also includes a Mickey photo model sheet, a photostat “Trailer Troubles” model sheet (released as “Mickey’s Trailer”), and a rare early Donald Duck photo print model sheet. - Three fantastic cels created in the 1970s of Clampett’s John Carter of Mars project, and two cels of his “Three Dimensional Man” unproduced series. The case also holds a three board pitch deck for Clampett’s “The Three Dimensional Man”, a series inspired by science fiction and the films of Douglas Fairbanks Jr. These 20.25” x 26” boards display three dynamic cels of the series, each measuring up to 16” x 13”. The artwork in all the panels is in very good to fine condition, with the panels themselves generally in good condition, with the edges showing wear from much use. The unique presentation case measures 23.25” x 31.5” x 4” and is in good condition with heavy edge wear and corner damage from travel, repair with duct tape, and a torn inner plastic pocket. Many of the items in these presentations – the story panels, cels, and more - are the equal to other individual lots in this auction, even superior as they were chosen by Clampett to represent the high points of his career. This is an amazing and sweeping collection of animation history, and a very personal item special to the animation legend Bob Clampett himself.

(Clampett, 1970s-80s) Bob Clampett’s one-of-a-kind carrot microphone cover. Clampett used this at speaking engagements to project his inner Bugs Bunny. Constructed of foam, pipe cleaners, and wool, the carrot measures 15” tall and 3” in diameter at the top and tapers down to 2” and displays in fine condition.

(Clampett, 1970s-80s) An original hand-painted presentation cel of Ima Hagg with a Bob Clampett copyright. Ima Hagg was a puppet character on the Buffalo Billy Show and this cel was most likely part of a pitch for an animated show. With an image size of 7.5” x 9” on a 10.5” x 12.5” cel, the art displays in very good condition with scratches, tape residue, spots of paint loss, and pinholes from display.

(Clampett, 1970s-80s) An original hand-painted cel of Tall Timber Tom with a Bob Clampett copyright. With an image size of 7.5” x 11” on a 10.5” x 12.5” cel, the piece is in good condition with paint loss, scratches, pinholes, and tape residue from display.

(Clampett, 1970s-80s) An original hand-painted cel of Stray Arrow with a Bob Clampett copyright. With an image size of 6.25” x 7.75” on a 10.5” x 12.5” cel, the piece is in very good condition with spots of paint loss, scratches, wear, and pinholes and tape residue from display.

(Clampett, 1970s-80s) An original hand-painted cel of Pop’s Pop with a Bob Clampett copyright. Measuring 10.5” x 12.5” with a character image size of 7.5” x 8”, the piece displays in very good condition with light line loss, paint loss, scratches, and edge wear from presentation use.

(Clampett, 1970s-80s) An original hand-painted cel of Lil’ Coo Coo Feather with a Bob Clampett copyright. Measuring 10.5” x 12.5” with an image size of 7” x 7.5”, the cel displays in very good condition with spots of paint loss, scratches, and wear from display.

(Clampett, 1970s) Four original color transparencies of Bob Clampett in his Hollywood office. Pictured are Clampett and Cecil posing with an Emmy award, Clampett and Cecil with a display of the Leakin’ Lena, and cartoon merchandise and a stack of presentation boards in Clampett’s office. Measuring 2.75” x 2.75” each, the mounted transparencies are in fine condition.

(Clampett, 1970s) Bob Clampett’s personal “Rabbit Rubbish” trash can originally displayed in his office. This handmade one-of-a-kind trash can was given to him by a fan and is modeled after Bugs Bunny’s in the Merrie Melodies short “A Corny Concerto.” Measuring 11.5” in diameter and 15.5” tall, the trash can is in good condition with scuffs, marks, crazing to the paint, a 5” diameter dent on the lid, and oxidation on the inside. Discarded carrot stubs not included.

(Clampett, 1940s-60s) A printer’s block engraved with Cecil and “Pay to the order of” inside a speech bubble. Measuring 1.5” x 2” x 1” deep with its 4.5” x 6” envelope, the printing block displays in very good condition with pencil markings from production and wear from use, while the envelope is in fair condition with tears, creases, and wear from use.

(Superior Press, 1950s-60s) A printer’s block engraved with Bob Clampett and his creations Beany and Cecil. The printer’s block was used to print the image in black and white and comes with the original Superior Press envelope printed with examples of other Beany and Cecil printer’s blocks. Measuring 3” x 3.25” x 1” deep with its original 3.5” x 6” envelope, the block is in good condition with scuffs and typical wear from use, while the envelope is in fair condition with heavy tears.

(Clampett, 1950s-60s) A large printing block featuring Bob Clampett’s characters Beany, Cecil, Thunderbolt the Wondercolt, Willy the Wolf, Clowny, and Captain Huffenpuff, on a train with sponsor products from Challenge Dairy, Nehi, and Malt-O-Meal. Measuring 7” x 9.25”, the block is in very good condition with scratches, scuffs, labeling tape and wear from use.

(Clampett, 1950s-60s) A large printing block engraved with “The Bob Clampett Cartoon Co. Hollywood.” Measuring 8” x 2.25” x 1” deep, the block is in good condition with scuffs, scratches, labeling tape, and wear from use.

(Clampett, 1940s-60s) A large printer’s block engraved with Bugs Bunny and the text “Season’s Greetings.” This printer’s block was used to print the image in black and white, likely for Bob Clampett’s seasonal mailing. Measuring 4.5” x 5”, the printing block is in good condition with scratches, labeling tape, and wear from use.

(Clampett, 1970s) A concept drawing for a proposed live stage show featuring the characters of “Beany and Cecil.” Inspired by Winsor McCay’s “Gertie the Dinosaur” animated and live shows, Clampett conceived of his own version, in which he or a host would interact with his animated characters live. Accomplished in ink, graphite, watercolor, and pastel and measuring 23.25” x 16”, the drawing is in very good condition with light creasing and light discoloration from age.

(Clampett, 1950s-70s) A large clamshell resembling Cecil the Sea Sick Sea Serpent. The shell was found by Clampet’s close friend Edgar Bergen. Bergen gave the shell to Clampett and he proudly displayed it in his office. Measuring 4.5” x 5” x 6” deep, the shell is in very good condition.

(Clampett, 1960s-80s) A one-of-a-kind prototype for a “Horton Hatches the Egg” ceramic tile featuring Bob Clampett’s version of the Dr. Seuss character. Measuring 6” x 6”, the tile displays in good condition with scratches, scuffs, stains, and discoloration from age.

(Warner Bros., 1998) The 24 Carrot Award given to Bob Clampett for his contributions to the studio and impact on the animation industry. There are very few who have received this award, including Chuck Jones, Stan Freberg, and Willie Ito. Comprised of a gold plaque measuring 9.75” x 10.75” on a 11” x 15” wooden plaque, the award is in good condition with scratches, scuffs, and wear.

(ASIFA, 1978) The 1978 Annie Award presented posthumously to Carl Stalling for his distinguished contribution to the art of animation. Stalling provided orchestral scores for early Mickey Mouse, Merrie Melodies, and Looney Tunes shorts. Measuring 9.25” tall and 4.75” in diameter, the award is in fair condition with scratches, scuffs, wear, and a loose reel which does not stay perched on top of the base.

(ASIFA, 1988) The 1988 Annie Award presented posthumously to Bob Clampett for his distinguished contribution to the art of animation. Measuring 9.25” tall and 4.75” in diameter, the award is in good condition with scuffs, scratches, and wear.

(Clampett, 1960s-80s) A color photo of Bob Clampett and his assistant in his office. Measuring 5” x 7”, the photo displays in very good condition with light scratches, wear, and discoloration from age.

(1970s-80s) A mixed-media carrot display with the name “Yvonne” painted in white on the side. Measuring 2” x 8” x 1” tall, the piece is in very good condition with light wear and cracks to the carrot.

(Clampett, 1944-45) A collection of three Bank of America checks to Walt Disney Productions, Tom McKimson, and Michael Maltese, all signed by Bob Clampett. The check to Disney features a Walt Disney Productions stamp on the reverse, while the McKimson and Maltese checks feature their respective signatures on the reverse. Ranging in size from 2.75” x 5.75” to 3” x 7”, the checks are in good to very good condition with folds, edge wear, smudges, spots of discoloration from age, and punctures from bank use.

(Clampett, 1957) A Bob Clampett Studio check signed by Clampett and made out to voice actor Walker Edmiston. Known for his work on “Time for Beany,” “Thunderbolt The Wondercolt,” “H.R. Pufnstuf,” and “The Walker Edmiston Show,” Edmiston signed the reverse of the check in blue ink. Measuring 3.5” x 8.5”, the check displays in very good condition with discoloration from age, edge wear, smudges, a full vertical fold at the center, and punctures from bank use.

(RCA/ Columbia, 1984) A motorized talking “Beany and Cecil” video store display promoting the 1984 VHS and Betamax release. With a battery-operated motor and voice box, the Leakin’ Lena was designed to rock back and forth while Cecil delivers a sales pitch for the series. Requiring a C battery, the voice box worked when tested, while the motorized function, requiring 2D batteries, did not work when tested. Measuring 17.5” x 5” x 20” tall, the display is in good to fine condition with light wear, creases, heavy oxidation to the metal motor, plus light holes and discoloration from age to the included instructions. Batteries not included.

(American Museum of the Moving Image, 1989) A poster for “The Cartoon World of Bob Clampett” retrospective from December 16, 1989 through January 6th, 1990. Designed by John K. and Lynne Naylor, the poster features Clampett with his trademark carrot microphone speaking with Bugs Bunny. Measuring 24” x 36”, the poster displays in very good condition, with some small creases and light edge wear.

(Clampett, 1981) The event poster artwork by "The Ren & Stimpy Show" creator John Kricfalusi for Bob Clampett's art exhibition, held at the Fox Venice Theater in Los Angeles. The piece features many of Clampett’s most famous characters and a scantily-clad woman, promoting “sex, violence, fine meats” and “surrealism.” Kricfalusi, a longtime Clampett admirer, would end up developing "The New Adventures of Beany & Cecil" per the Clampett family's request. Accomplished in colored markers and Zipatone on 17” x 22” artist’s board, the art is in good condition with light spotting, stains, scrapes, edge wear, and discoloration from age.